1107 absa 2009 l'atelier catalogue lowres


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1107 absa 2009 l'atelier catalogue lowres

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  2. 2. 1Absa is a world-renowned patron of the arts and the proud sponsor of the 24th L’Atelierart competition. It is the oldest single national sponsored art competition in the SouthernHemisphere and remains the most prestigious award on any South African artist’s CV.This competition serves as a platform for young emerging artists to make their mark in theSouth African arena. Not only does Absa create a platform to showcase their work throughthis competition, but we have also been increasingly active in identifying, nurturing, pro-moting and sponsoring these artists through our gallery.Absa regularly purchases art from exhibitions hosted in the Absa Gallery, as well as fromthe L’Atelier exhibition.The purpose of buying new art is to develop human potential, sup-port South African arts and culture and also provide our business with a viable investmentopportunity. Absa’s art collection is therefore a tangible and visual reflection of what we’reabout as a South African organisation.We would like to take this opportunity to express our gratitude to our co-sponsors for theircontinued support. Without SANAVA, the French Embassy, the French Institute and AllianceFrançiase, this initiative would not be possible.I would also like to congratulate our winners. Make the most of this wonderful opportunityto further your careers.We will be watching with interest as many of you go on to becomeinternationally recognised artists.To all the entrants, we wish you the very best and hope to see you again next year.Maria RamosAbsa Group Chief Executive
  3. 3. 2National selection panelGwen Miller/Melissa MboweniCoordinators of National SelectionAndrew Da ConceicaoCape TownAmos LetsoaloPolokwaneKarel NelJohannesburgIngrid StevensPretoriaAir ticket to Paris, France sponsored by AbsaThis catalogue has been compiled by Cecile Loedolff, Manager: Art,Absa Group Marketing and Corporate Affairs.Published by Absa, Member of the Barclays Group.2009 Absa L’Atelier Awards CatalogueISBN 978-0-620-44293-0The Absa L’Atelier Art Competition is presented annually by Absa in conjunctionwith SANAVA (South African National Association for the Visual Arts). It is a compe-tition for young artists in the age group 21 to 35 years.Works of art were selected inBellville, Bloemfontein, Durban, Johannesburg, East London, Port Elizabeth,Polokwane, Pretoria and Thohoyandou by a local panel of selectors guided byMelissa Mboweni and Gwen Miller on behalf of the National President of SANAVA.The selected works of art have been sent to Johannesburg for final adjudication.The Absa L’Atelier Award2
  4. 4. 3Retrospectively, the art of any society has been viewed as a significant measure of the diversity of its values.TheAbsa L’Atelier Award provides a platform for engagement with young artists whose work reflects the attitudesand concerns throughout contemporary South Africa. In this short introduction, I would like to draw attention totwo important aspects of the structure of the L’Atelier Award, namely the process of judging and the post-selec-tion analyses of the artworks.The judging process has been refined over many years. Several panels of adjudicators function at regional andnational level to encourage a broad, inclusive vision.They are presented with work that has been selected byannually appointed critics, educators and artists and a judging aesthetic is negotiated.The judges’ intentionis to access the possible meanings and aims of the works, while at the same time considering the relationshipbetween the artists’ concepts and technical choices and their craftsmanship. Rounds of systematic selection arebuilt into the judging process to determine professionalism and representation.The judges must substantiatetheir choices in a final round of rigorous debate.This acceptance of their own accountability demonstrates theircommitment and dedication to our cutting-edge young artists, whose work often falls outside the constraints ofthe market.Over the years, the Absa L’Atelier Award judges have used a vital gauge; that of relevance to our time and coun-try. Yet, attempts to define the terms ‘contemporary’ and ‘South African’ often raise significant issues aroundboth visual and political aesthetics. In this exhibition, the post-judging process analysis has identified a the-matic disquiet; the realisation of a sombre tone and sense of discomfort inherent in many works.This parallelsinternational trends reflecting societal anxiety and urban tension and the individual’s sense of insignificance orimpotence.The artists’ voices of dissent are consistent yet reveal personal perspectives. Visual language is manipulated toconvey the spirit of place with either energy or subtlety.The artists comment critically on many contemporarysystems and structures, including bureaucracy and boardroom ethics, ecological irresponsibility and the socio-logical implications of race classification and stereotyping - although a certain irony sometimes emerges whendealing with issues around the role of race and diminishing cultures.There is fear and lament for the prevailingstrain of violence, death and poverty, shown by the choice of metaphorical images, such as figures from mythol-ogy.The shape-shifting impact of technology on the way we experience life is evident in their formal use ofgrid structures and some art processes that allow mechanical ‘invasion’ of the artists’ individual styles.Thesethematic and technical choices show the artists’ complete awareness of a society under strain at multiple levels.It is essential to emphasise the strength of the works on exhibition: they are not mere illustrations of these con-cepts, but instead, as open-ended evocations of subliminal tension, have become barometers of conscience.Gwen MillerCoordinator
  5. 5. 44The South African National Association for the Visual Arts (SANAVA) pays tribute to Absafor its consistent support over the past twenty-four years of organising the annual AbsaL ’Atelier Competition.The event, hosted in collaboration with SANAVA, has become amajor item on the agenda of young visual artists who are serious about developing theirskills and in pursuing their interest or a career in the field of the visual arts.We thankAbsa’s management and staff dedicated to the promotion of the visual arts and recognisetheir very important role in furthering the spiritual wealth of the South African nation.Congratulations to those artists who distinguished themselves by having been selectedas most meritorious! To those individuals who were not successful this time, thank youfor your participation. Please persevere, for eventually your efforts are bound to be richlyrewarded. Many thanks to the judges, local panels and staff at the various collectionpoints who sacrificed time in assisting with the adjudication process! Let’s continue tosupport Absa by echoing its slogan‘today, tomorrow, together, also in the visual arts!’Many thanksAnton LoubserSANAVA National President
  6. 6. 5Gerard Sekoto (1913 – 1993)Sekoto was born at Botshabelo near Middelburg in the formerTransvaal on 9 December 1913. His early paintings depicted scenesfrom Sophiatown, District Six and Eastwood near Pretoria.He left South Africa in 1947 for Europe and settled in Paris in volun-tary exile where he lived until his death in 1993. As an African Parisianhe always yearned for his South African roots and identity, which hedepicted with much nostalgia in many of his works.In Paris and with the support of the loving French public, doorseventually opened for Sekoto to explore his own creativity. With thisaward we honour Gerard Sekoto. The French Embassy, the FrenchInstitute and the Alliance Française, felt it appropriate to create suchan award to support the most promising artist with an income ofless than R60 000 per annum. This award will hopefully open yetanother door for a young South African artist in the city of love andart, namely Paris.
  7. 7. 6Rosin, Stephen John WinnerBellvilleThe devil makes his Christmas pie frompoliticians’ tongues and bankers’fingers (2008)Mixed media58cm x 80cm
  8. 8. 7Eksteen, Frederik Jacobus (Frikkie)PretoriaThe ambassadorsMixed media200cm x 199,5cmMeritAward
  9. 9. 8JohannesburgWailing wallMixed media(Diptych)a) 104,5cm x 64,5cmb) 104,5cm x 64,5cmMeritAwardErasmus, Marthinus Stephanus (Stephan)
  10. 10. 9Lotz, Hannah-AdaPretoriaNo matter if you black or pitch black:I’m free to be black as I amI am super blackPhotography(Diptych)a) 108,5cm x 76cmb) 108,5cm x 76cmMeritAward
  11. 11. 10DurbanThe scapegoatMixed media53cm x 31cm x 24cmShabalala, Mbhekiseni VictorMeritAwardancapegoatd mediax 31cm x 24cm
  12. 12. 11East LondonTribute to Noria MabasaLinocut103cm x 134cmGerardSekotoAwardLindi, Nyaniso
  13. 13. 1209 Top Ten Finalists1MaaikeBakker2PeterCampbell3FionaCouldridge6NyanisoLindi7Hannah-AdaLotz
  14. 14. 134FrikkieEksteen5StephanErasmus10LucasThobejane8StephenRosin9VictorShabalala
  15. 15. 14Bahmann, DirkJohannesburgLife trace 10 JohannesburgMixed media61,5cm x 83cm61,5cm x 83cmProfile:Bahmann was born in 1974.He obtaineda BAS degree at the University of theWitwatersrand as well as a BArch at theUniversity of theWitwatersrand.He hasparticipated in several exhibitions andreceived several awards.He participated inthe 2006 L’Atelier Exhibition.Description of artwork:Life trace 10 Johannesburg is an ongoingorbit of work that examines an innerexperience of the urban landscape ofJohannesburg. It plays with the duality ofthe inner and outer worlds, between theself and the collective and the particularand the universal.
  16. 16. 15Bakker, MaaikePretoriaAir suburb #219Multimedia installation27 secProfile:Bakker was born in 1986 and is currentlystudying BA(VA) at Unisa.Description of artwork:This artwork investigates the old Romanlaw principle ‘cuius est solum, eius estusque ad caelum et ad inferos’, which whenroughly translated states,‘To those whobelong to the earth... (shall belong to thesky up to the heavens)’, and it applies to ourpostmodern context.Air suburb #219 consists of numerous layersof suspended laser cut cardboard grid struc-tures or air boxes, serving as a future airblueprint, which designates the areas in thesky that have been modified into architec-tural airspace.
  17. 17. 16Bezuidenhout,VincentBellvilleTower block diptychPhotography115,5cm x 184cmProfile:Bezuidenhout was born in 1978. He studied for theNational Diploma in Photography as well as for theBTech degree in Photography at the Central Univer-sity of Technology, Free State, Bloemfontein.Description of artwork:The photograph entitled Tower block diptych relatesto the concept of heterotopia elaborated on byphilosopher Michael Foucault to describe places andspaces that function in non-hegemonic conditions.These are spaces of otherness, which are neitherhere nor there, that are simultaneously physicaland mental such as the space of a phone call or themoment when you see yourself in the mirror. Theterm heterotopia describes spaces that have layersof meaning or relationships to other places thanimmediately meets the eye.
  18. 18. 17Profile:Botes was born in Bellville in 1975.He studied BA(FA) Applied Graphicsat the University of Stellenbosch. Hehas participated in several exhibi-tions, including the Absa L’AtelierExhibition in 2007.Description of artwork:This installation focuses on the hu-man being as parasite by raisingquestions regarding how much weconsume. At first glance the viewer ispresented by a rigid portrait made ofsmaller pieces – the self depicted asrobotic. Each individual piece carriesa fact about the consumption andwaste production of a single humanbeing over their average lifetime of 77years and 9 months. The installationdelivers information through nu-merical figures and raises questionsor evokes response from the viewerregarding their lifestyle and howmechanised and unthinking we havebecome in our consumption.Botes, Sybrandt LourensBellvilleParasiteMixed media200cm x 200cm
  19. 19. 18Profile:Bull was born in 1974 and studied BA(FA) aswell as MA(FA), which she obtained withdistinction from the University of CapeTown. She is currently a lecturer in theVisual Art Department of the University ofStellenbosch. She has participated in severalexhibitions, including the Absa Atelier ex-hibitions in 2000 and 2001 as well as in theAbsa L’Atelier Exhibition in 2005. She wasselected as a Merit Award Winner in 2005.Description of artwork:Data capture: a muse consists of a series oflive portrait drawing performances playingon the tradition of life drawing and theartist’s search for a muse.Bull, Katherine GayBellvilleData capture: a museMixed media2 min
  20. 20. 19Profile:Campbell was born in 1982 and studiedfor the National Diploma in Fine Artsat the Nelson Mandela MetropolitanUniversity, Port Elizabeth. He is currentlystudying for his BTech(FA) degree at thesame university.Description of artwork:Ancient Celtic custom required that thesin of the recently deceased be re-moved so that the soul would be free totranscend, unhindered, into the heav-enly realm. For this to happen, the aidof a Sin-eater was required. By meansof specific ritual the Sin-eater wouldconsume the transgressions of the dead.Tom Peep raises the question: have webecome our own sin-eaters throughthe relaxing ritual of mass media? Withevery floppy newspaper, every horriddaily seven o’clock summation, filmsand literature reminding us of the acidiccorners of the mind, we consume ourcollective dark underbelly. Are we a fly-on-the-wall-culture mistaking disasterfor entertainment, always watching butnever helping, always judging but neverloving? Have we come to expect theworst of those around us and instead ofreconciling, have built higher walls? Arewe the products of cultural decay, of afailing ritual incomplete?Campbell, Peter MikaelPort ElizabethTom PeepMixed media200cm x 200cm
  21. 21. 20Port ElizabethOld sins cast long shadows (from:The dark mirror series)Mixed media72cm x 57cmCampbell, Peter MikaelDescription of artwork:Cement is the physical backbone ofurbanisation, while exerting greatpressure on the environment throughthe process of its manufacture. It iscold, hard and has immense strengthbut is rigid, reflective of the cold logicof The Age of Reason. Like the cement,the frame also has a heritage thatis indicative of Western civilisation,expressing hierarchy, wealth andclassicism and the valorisation ofthat, which lies within its frontiers.The use of gold leaf may express to acertain extent the health of our times,the flaking veneer of the pinnacle ofcivilisation.
  22. 22. 21Profile:Chauke was born in 1979 and completedgrade 10 at the Malenga High School.Description of artwork:It is election time and all the leadersare talking. Here the artist depictsJacob Zuma, Mr Lekota as well as twoformer Presidents namely Mr Mandelaand Mr De Klerk.PolokwaneThe elections manifestoWood and paint18cm x 62cm x 31cmChauke, Phula RichardProfile:Profile:Profile
  23. 23. 22East LondonAn unstable identityMixed media installation186cm x 200cm x 200cmChorn, Genevieve SarahProfile:Chorn was born in 1987 and is currentlystudying BA(FA) at Rhodes University,Grahamstown.Description of artwork:This artwork consists of two sculptures; achair and a hat stand, which have humanfeet, reminiscent of the ball and clawfurniture of the 1940s and 1950s.
  24. 24. 23Profile:Coetzee was born in 1983 and studiedfor the National Diploma in Photogra-phy at the Nelson Mandela Metropoli-tan University, Port Elizabeth.Port ElizabethEmpty Space 2Photography60,5cm x 84,5cmCoetzee, GerhardtDescription of artworks:It was the profound emptiness of thespaces shown in these photographsthat first attracted Coetzee. While theatmosphere in most of them can be de-scribed as unsettling, there is a sense offamiliarity in these voids where life usedto be lived so abundantly. In the ruins ofCentral Port Elizabeth, the contrast tothe madness of being and how humansociety destroys and sucks the life outof what was once beautiful, seemed tojump at the artist. The absent humanfigure, suggested by evidence left be-hind, shadowed him from site to site. Tohim the spaces became spaces of possi-bility where he could delve into his ownexperiences, imagination and memories.Port ElizabethEmpty Space 1Photography60,5cm x 84,5cm
  25. 25. 24JohannesburgHauntingOil on board(Twenty-four-part)33cm x 24cm eachCouldridge, Fiona Sharon KemsleyProfile:Couldridge was born in 1975. She studied BA(FA)as well as MA(FA) at the University of the Witwa-tersrand. She has participated in several exhibitions,including the Absa Atelier Exhibitions in 2000 and2001 as well as in the Absa L’Atelier Exhibitions in2004 and 2005.Description of artwork:Couldridge’s artworks exist between life and death;they are apparitions – figures which may at any pointawaken.The main themes concern psychologicalidentity of ideas and of often sinister, childhood play.The starkness of the black and white colouringsuggest medical x-rays, print media, photographicnegatives as well as various binary oppositions:dark and light, negative and positive, death and life,absence and presence. Pressing the dolls on cottonsheets create imprints, suggestive of both presenceand absence.
  26. 26. 25DurbanKids for year 2000Acrylic on canvas45,5cm x 60,5cmDanca,Welcome S’phiweProfile:Danca was born in 1978 and obtained aNational Diploma in Graphic Design at theDurban Institute of Technology. He hasparticipated in several exhibitions, includ-ing the Absa L’Atelier Exhibition in 2008.Description of artwork:The children who were born after 1994 arespoilt because they received cell phonesand certain rights. If you as a parentreprimand them they argue with you andthreaten that they will call Childline.
  27. 27. 26PretoriaXenomorphic dispositionBronze32,5cm x 34,5cm x 14,5cmProfile:Delport was born in 1978. He studiedfor the National Diploma in Fine Arts atthe Tshwane University of Technology,Pretoria. He has participated in severalexhibitions, including the Absa L’AtelierExhibition in 2002.Description of artwork:This piece is about human relationsand interaction, different mindsets anddeliberations. It is about how individu-als can have complete diverse ideasand emotional reactions. On the oneside you have soft, rounded shapes thatseem nimble and benevolent. On theopposing side there is the sharp angu-lar shape that seems almost aggres-sive, awkward and unyielding but alsodefensive. The shape of the heads alongwith the body language makes con-frontation between the circle and thesquare, the liberal and the conservative,clear. It is basically action and reaction.Delport, Stevenng the Absa LAtelierf artwork:human relationsfferent mindsets andabout how individu-ete diverse ideasctions. On the onerounded shapes thatbenevolent. On thee is the sharp angu-ms almost aggres-unyielding but alsope of the heads alongguage makes con-n the circle and theand the conservative,action and reaction.
  28. 28. 27BloemfonteinTax - CMixed media98cm x 149,5cm x 64,5cmDe Waal, HelenaProfile:De Waal was born in 1979 and obtainedthe National Diploma in Fine Arts at theTechnikon Free State, Bloemfontein in2003. She obtained a postgraduate certif-icate in Education in 2008 at the CentralUniversity of Technology, Bloemfontein.Description of artwork:This artwork portrays four issues thatall citizens are confronted with, namelywater, electricity, food and money. A lamp,meat grinder, a tap and money slot areall reminders of these issues.The rearmirrors are there to remind you of thingsthat can happen.The amount of moneyyou put into the slot determines how farthe Tax-C can go.izens are confronted with, namelyll citwatemeatll remmirrohat cou phe Tatir,tmocpuTaizens are confronted with, namelyr, electricity, food and money. A lamp,grinder, a tap and money slot areminders of these issues.The rearrs are there to remind you of thingsan happen.The amount of moneyut into the slot determines how farax-C can go.C
  29. 29. 28Du Preez, SuzanneJohannesburgSeries #4: Parktown IMixed media200cm x 107cmProfile:Du Preez was born in Worcester in 1975and studied BA(FA) at the Michaelis Schoolof Fine Art, University of Cape Town. Shealso studied for the MTech degree in FineArts at the University of Johannesburg.She has participated in several exhibitions,including the Absa Atelier Exhibitionin 2001.Description of artwork:This work is a representation of a sectionof a wall from the Johannesburg suburb,Parktown.The artwork is an interpreta-tion of the walls outside our houses thatwe erect as protection against violation.Recreated here from soft materials, such asfoam in which the wall loses its functionto protect and becomes an exploration ofthe artist’s positioning and interpretationof her lived context, Johannesburg.This isachieved through the use of and manipu-lation of diverse materials, techniques andreferences related to the artist herself inan attempt to explore her own identity.
  30. 30. 29Description of artwork:This representation of a suburbanboundary wall in Parktown West,Johannesburg, was created by usingneedlepoint techniques to outline theboundary wall, juxtaposed against anidyllic/utopian landscape. This juxta-positioning forms a grafting of timeand space i.e. here and there, presentand past, reality and imagination.Du Preez, SuzanneJohannesburgSeries #3: Parktown West IMixed media200cm x 84,5cm
  31. 31. 30Description of artwork:This artwork forms part of a series, which was done whileDu Preez attended a residency in Switzerland.This site- specific installation investigates social, cultural and per-sonal boundaries in a European context as apposed to herliving context, Johannesburg, South Africa. She focused onboundary walls as it is so distinct in Johannesburg.Du Preez, SuzanneJohannesburgBoundaries I, Sierre, SwitzerlandDigital print82,5cm x 101,5cm
  32. 32. 31Profile:Duncan was born in 1981 and studied BA(FA) at theMichaelis School of Fine Art, University of Cape Town.She has participated in the Absa L’Atelier Exhibitionin 2008 where she was chosen as one of the top tenfinalists.Description of artwork:Illness prevented her mother from having long, thickhair for most of her adult life. Only now in menopausewith the help of hormone replacement therapy herhair is thick and long.Through this work she attemptsto question constructs concerning female beauty. Sheused her mother’s hair to create an object referencinga fan that she gave her.The work is also intended as aportrait of her mother.Duncan, Suzanne Elizabeth BeavanBellvilleFan: For hot flushesHuman hair62cm x 86cm
  33. 33. 32Profile:East was born in 1980 and is currentlystudying BA(FA) at the Michaelis School ofFine Art, University of Cape Town.Description of artwork:This work deals with themes of com-plimentary form, structure replication,disease, duality containment, loss, play,material antagonisms, strength andvulnerability.East, Anthony DavidBellvillePlaceto (Still life; four years and three months)Mixed media200cm x 200cm
  34. 34. 33Eksteen, Frederik Jacobus (Frikkie)PretoriaThe ambassadorsMixed media200cm x 199,5cmProfile:Eksteen was born in 1973 and studiedBA(FA) as well as MA(FA) at the Universityof Pretoria. He has participated in severalexhibitions, including the Absa AtelierExhibition in 2001 where he was selectedas one of the top ten finalists. He alsoparticipated in the Absa L’Atelier Exhibi-tion in 2003.Description of artwork:The ambassadors (2009) is part of anongoing project based on the Universityof Pretoria’s portrait collection of formerprincipals.This painting forms part of abody of work, which questions this series’status as both timeline and a knowledgearchive. If each personage in the originalsequence is intended as a marker in anongoing narrative, can it stand up towhat it claims to represent? What exactlydoes it signify and how? What happenedin the spaces between these portraits?Are these gaps completely faceless? Cana few painted faces be a valid record ofthe complex events and decisions thatshape nearly a century’s worth of history?The artwork was also inspired by andtakes its title from Hans Holbein’s paint-ing The ambassadors from 1533. As inHolbein’s image, he used anamorphicperspective to create eleven unexpectedviewpoints.The painting demands of theviewer to take part in an unconventionalviewing contract, where things only comeinto perspective by adopting severalunfamiliar vantage points.
  35. 35. 34Erasmus, Marthinus Stephanus (Stephan)JohannesburgUntitled 104Mixed media21cm x 20,8cm x 1,7cmProfile:Erasmus was born in 1976. He studiedfor the National Diploma in Fine Arts attheWitwatersrand Technikon as well asfor the BTech (FA) degree at theWitwa-tersrand Technikon. He also completeda Masters degree in Fine Arts at theUniversity of theWitwatersrand. He hasparticipated in several exhibitions,includ-ing the Absa Atelier Exhibition in 2000as well as the Absa L’Atelier Exhibitions in2004,2006 and 2008. He was selected asone of the top ten finalists in 2008.Description of artwork:In this particular book the artist sampledtexts from five selected love song lyricsand then randomly placed these letterson each section of the book.These letterswere connected with‘paths’between theletters to spell out the selected text.Thetext was then encrypted by placing mis-leading pathways between the letters.The use of the book format aims to gener-ate a more tactile involvement with theartwork by the reader,not only throughthe physical handling of the artwork asone would with a normal book,but alsothrough the decryption/discovery of theselected texts and the rezones for theartist’s selection of these texts.
  36. 36. 35Erasmus, Marthinus Stephanus (Stephan)JohannesburgWailing wallMixed media(Diptych)a) 104,5cm x 64,5cmb) 104,5cm x 64,5cmDescription of artwork:The work entitled Wailing wallcalls on a historically importantarchitectural construction knownas the Western Wall, an impor-tant religious site of all threethe Abriamic faiths, Christianity,Judaism and Islam. The wall ishistorically known to be the lastremaining construction of theSecond Temple in Jerusalem, animportant place for prayer andin Islam the wall has a strong as-sociation with the Isra and Mi’rajstory. Some sources identify theWestern Wall as the place whereMuhammad tethered his wingedsteed, Buraq.However, this artwork focuses onthe tradition of placing piecesof paper containing Talismansand prayers into the cracks of theWall. By using this tradition to re-construct a place where wishes,hopes and dreams are containedin selected lyrics from love songs,these pieces of paper are used toconstruct a wall where the makercan give in to the longing andsorrow that establish this memo-rial place of remembrance.
  37. 37. 36Evans, Judith MarianJohannesburgThere is always a pointMixed media55,5cm x 68cmProfile:Evans was born in 1986 and is currently studyingBA(FA) at the University of the Witwatersrand.Description of artwork:In 1917 Marcel Duchamp rotated a porcelain urinalby 90 degrees, signed it and placed it in a gallery– almost instantly transforming the manner in whichthe world conceived of what art truly is. Almost acentury later this ground-breaking work continues tostand as a beacon in conceptual art making.Along a similar line the object which she has chosento frame is an ordinary clutch pencil, which has beenmass produced.What makes it unique, however, isthe fact that the artist Jeremy Wafer coincidentlychose to sign another artist’s submission to thecompetition.
  38. 38. 37Ferreira, RikusBellvilleVarkkop formasieMixed media45cm x 128cm x 69,5cmProfile:Ferreira was born in 1976 and studiedBA(FA) as well as MA(FA) at the Universityof Stellenbosch. He has participated inseveral exhibitions, including the VolkskasBank Atelier Exhibition in 1999 and theAbsa L’Atelier Exhibitions in 2003, 2004and 2007. He was selected as a top tenfinalist in 2003 and 2007.Description of artwork:Pigs are likened to the human race onvarious levels and are often used to com-ment on the human condition.WinstonChurchill once said:“Dogs look up to us.Cats look down on us. Pigs treat us likeequals.”They are a frequent source ofreference in many aspects of culture atlarge, with many idiomatic uses of theword pig. Origami pigs, folded by usingpages from an old book on British impe-rialism and Queen Victoria, were placedinside a coffee table and specifically inthis case, one in the ball and claw design.This type of coffee table is a well-knownitem in the Afrikaans family and a veryfamiliar furniture piece in most westernhouseholds in South Africa.The folded origami pigs were placed in anox head formation.This well-known andsuccessful military strategy was used byShaka Zulu and his Impis,where faster-run-ning fighters (the horns) would encircle theenemy,while soldiers with short spears (thehead) would face the enemy head on.This work tries to deal with the idea ofgreed and power in a South African context.It tries to focus the attention on the ironyof imperialism and therefore also the thirstfor power/control over people and the ef-fect on the different groups involved.
  39. 39. 38Fossey, NatalieDurbanWe are addressing the problemSilkscreen57,5cm x 67cmProfile:Fossey was born in 1985 and studied BA(FA)at the University of KwaZulu-Natal. She iscurrently reading for an MA(FA) at the sameuniversity.Description of artwork:This work was the first of a series of printsworking in and around notions of feminin-ity, sex, beauty and representation thereof.The artist worked from her own photo-graphs to develop a piece that functionsas an open-ended question. The image ismade up of only one subject.
  40. 40. 39Fossey, NatalieDurbanWe will return to popular viewing shortlyLinocut38cm x 32cmDescription of artwork:The artist uses her own photographs andthe linocut was the last in the series inwhich she worked with representationsof femininity, beauty and sex. She findsthe voyeuristic very interesting. By usinga figure where it is not clear whether sheis aware that she is being viewed, gavethe artist an opportunity to consider hervoyeuristic intentions as an artist work-ing with the partially nude female form.38cm x 32cm
  41. 41. 40Fuller, St John James ZairPretoriaWabenzaPinhole photography105cm x 153cmProfile:Fuller was born in 1974 and studied BA(FA).He has participated in several exhibitions,including the Absa L’Atelier Exhibitions in2007 and 2008.Description of artwork:Wabenza is a photograph of a MercedesBenz taken with a multi aperture camera.The car is an icon of a dream. A symbolof status and goals achieved. A sure signthat you have managed to place yourselfcomfortably within society and wellbeyond the reaches of poverty. Whilethe image clearly reveals recognisablefeatures of a car, these do not form awhole. Instead, much as we repeat toourselves those parts of a dream that wedo remember in order to try and recallthe whole, the fragments are representedover and over again without evercompleting the car.
  42. 42. 41Gillougley, Cara ValBellvilleFrom withdrawal and emergenceMixed media(Triptych)a) 47,5cm x 36,5cmb) 47,5cm x 36,5cmc) 47,5cm x 36,5cmProfile:Gillougley was born in 1983 and studiedfor a Diploma in Photography at the RuthProwse School of Art in Cape Town.Description of artwork:The surreal photographic body ofwork deals with themes of underlyingemotional and psychological tormentand obsession. The images are bothmetaphor and catharsis. The images arederived from studio shoots and substan-tive digital post production. The scale isintimate to force a degree of voyeurismfrom the viewer.
  43. 43. 42Greyvenstein, LisaPretoriaPretty in pinkMixed media(Triptych)a) 23,5cm x 44,5cm x 45cmb) 23,5cm x 44,5cm x 45cmc) 23,5cm x 44,5cm x 45cmProfile:Greyvenstein was born in 1983 and is cur-rently studying BA(FA) at the University ofPretoria.Description of artwork:Pretty pink is a comment on gender rela-tions and cultural expectations on men andwomen.The softness of the fabric juxta-poses the sharp dangerous qualities of thegloss alluding to hidden friction and ten-sion between genders. Dominant discoursedooms women to artifice causing inequali-ties and conflicts.
  44. 44. 43Description of artwork:This series of digital photographs are soovertly constructed that one begins toquestion what is real and what is merelyillusion, alluding to the ideological con-structs in our everyday society by whichwe live our lives.Greyvenstein, LisaPretoriaCorrupted illusion IDigital print37,5cm x 186,5cm
  45. 45. 44Grobler, LizaBellvilleA work of art (also) has a life of its own(self-portrait)Mixed media124cm x 73cm x 92cmProfile:Grobler was born in 1974. She studiedBA(FA) as well as MA(FA), which she ob-tained with distinction from the Univer-sity of Stellenbosch. She has participatedin several exhibitions, including the AbsaL’Atelier Exhibitions in 2005, 2006 and2008.Description of artwork:This work is constructed out of variousobjects representing a self-portrait of theartist in a pregnant state.b-er-tedbsasthe
  46. 46. 45Gurney, Kim JanetteJohannesburgA bee, dreamingMixed media50,5cm x 144cm x 12cmProfile:Gurney was born in 1974 and studied BA(FA) at theMichaelis School of Fine Art, University of Cape Town.Description of artwork:This work engages with climate change – specifi-cally the habitat loss for bees as a result of humandevelopment, which play a vital pollinator role in foodproduction. The square format of each window andcomposite panels represents the mosaic vision ofbees. The floral spectres are, however, stitched in red– a colour that bees cannot perceive. The contortedhoneycomb panel, lit from behind with simulateddaylight, represents disrupted natural order.
  47. 47. 46Gutter, Pauline GertruidaBloemfonteinMemorial of memoriesOil on wood170cm x 122cmProfile:Gutter was born in 1980 and studiedBA(FA) at the University of the Free State,Bloemfontein. She has participated inseveral exhibitions, including the AbsaL’Atelier Exhibitions in 2002, 2003, 2004,2005, 2006 and 2007.Description of artwork:This work depicts Alfred GeorgeJenkinson.
  48. 48. 47Hlatshwayo, Similo WisemanJohannesburgNight cityscape 1, 2 and 3Mixed media(Triptych)a) 50cm x 50cmb) 29cm x 70cmc) 28,5cm x 70,5cmProfile:Hlatshwayo was born in 1984 and ob-tained a Diploma in Visual Arts.Description of artwork:With these works the artist tried tomove away from depicting nightscapesin the traditional manner by drawingfrom circuit board images and electronicdevices such as music studio recordingequipment. He also minimalised theactual buildings that are only suggestedby lighting. He attempted to create acityscape that leaves the viewer to bedrawn into the fast-paced lighting visionsof the city.2,5a)b)b)b)c) 28,
  49. 49. 48Hlungwani, Staurose PhillemonJohannesburgKuhavankariwaku wisa IMixed media115,5cm x 147,5cmProfile:Hlungwani was born in Giyani in 1975. Hestudied Fine Arts at the Johannesburg ArtFoundation. He also completed a Teach-ers Training Course at the Wits School ofArt and then he studied Printmaking atthe Artist Proof Studio in Johannesburg.
  50. 50. 49JohannesburgKuhavankariwaku wisa IIMixed media115,5cm x 147,5cmHlungwani, Staurose PhillemonDescription of artworks:There is no time to rest after retirement.Although these men still need to work assubsistence farmers they enjoy their newlifestyle.
  51. 51. 50Hugo, HelenaPretoriaEnd of my shift, end of my shift, end of my shiftPastel on board59cm x 127,5cmProfile:Hugo was born in 1975 and studied BA(FA)at the University of Pretoria. She hasparticipated in several exhibitions, includingthe Absa L’Atelier Exhibition in 2006.Description of artwork:In this drawing of three mineworkers, Hugoexplores the different identities of SouthAfrican labourers. She aims to break withthe traditional idea of portrait paintingmostly being reserved for the wealthy. Intreating the portraits of people who areoften being overlooked or taken for granted(but who play a vital role in society andeconomy), with equal virtuous formalityand exhibiting them in a gallery, she aimsto present them to the viewer as individualswith reconsidered significance, status andimportance.
  52. 52. 51Joubert, LadinéPretoriaArs Mariendi collection:Decadence of deathMixed media170cm x 40cm x 40cmProfile:Joubert was born in 1986 andstudied BA(FA).Description of artwork:The focus in this work is the dialecticbetween aesthetic and anti-aestheticas symbolic of most binaries such asself/other, young/old and life/death. Shethought of beauty (life) as constructivebut at the same time destructive withinwestern society. On the other handshe finds death as destructive but alsoconstructive as in nature’s continuousrebirth.The work was created to attractand repulse simultaneously.
  53. 53. 52Joubert,TarienPretoriaTadaridaMixed media32cm x 160cm x 160cmProfile:Joubert was born in 1986 and studiedBA(FA) at the University of Pretoria.
  54. 54. 53Joubert,TarienPretoriaMicrotus longicaudusMixed media91cm x 136cm x 70cmDescription of artworks:We live in a world where cloning and ge-netic engineering form part of biotechno-logical manipulation.This manipulation isvisually manifested in these creatures thatinstil a sense of compassion in the viewer.Beauty can be found in utter banality.
  55. 55. 54Keevy, AmyPort ElizabethBleed her whiteMixed media(Five-part)35cm x 43,5cm x 13cm eachProfile:Keevy was born in 1987 and studied forthe National Diploma in Fine Arts at theNelson Mandela Metropolitan University,Port Elizabeth.Description of artwork:Keevy explores the concepts of the fe-male body and identity, as well as issuesrelating to the female gender.The word‘white’in the title is used symbolically torepresent an innocence and virtue, whichin some societies can be forced unrealisti-cally upon women.The series consist of five different imagesof a female body.The wounds resemblelesions on skin and represent the bodybeing de-sexualised.These‘wounds’arebeing inflicted, but one can also see themas wounds‘oozing’from the skin.Thereis a tension between the inner and outerbody. From one point we see the woundsbeing inflicted and from a different pointit is the body itself, which leaks andbleeds. In an attempt to repress femalesexuality, the opposite is occurring – it isnow prominent and unconcealed.
  56. 56. 55Kraft, GinaJohannesburgGod bless youVideo1 min 12 secProfile:Kraft was born in 1977 and studied BA(FA)at the University of the Witwatersrand.Description of artwork:This piece came about as a response toGeorge W Bush’s somewhat unintelligentspeeches regarding the reasons for thewar with Iraq. It issues a challenge tothe thoughtless followers not only of aleader going down a dangerous path, butof the school of thought that encour-ages the mindless disregard for the useof‘God’s’name in making decisions.Thisin a country that is largely Christian andcannot (or will not) argue with the decla-ration that said decisions are the will ofGod. It references the over-hyped boxingmatches in the USA, where scantily cladgirls walk around the ring announcingthe next round with a big signboard.
  57. 57. 56Lila, PhiliswaPretoriaUntitledMixed media115cm x 88cmProfile:Lila was born in 1988.Description of artwork:The artist is concerned with the appear-ance of a person’s skin and she focusesmainly on old people. It is believed thatwhen you grow older you lose yourbeauty but for her it is not the case.Beauty can be imperfect. Each line/wrin-kle on a person’s face tells a story of howyou lived your life.
  58. 58. 57Description of artwork:The artist gives recognition to one ofSouth Africa’s living pioneer artistsnamely Noria Mabasa.The work is basedon one of her earlier works.Profile:Lindi was born in 1973 and studied BA(FA)at Rhodes University, Grahamstown,which he did not complete. He has par-ticipated in several exhibitions, includingthe Absa L’Atelier Exhibition in 2007.Lindi, NyanisoEast LondonTribute to Noria MabasaLinocut103cm x 134cm
  59. 59. 58Profile:Liversage was born in 1973. She studiedfor the National Higher Diploma in FineArts at the Orange Free State, Bloem-fontein. She also studied for the BTech(FA) degree at the Technikon Free State,Bloemfontein. She has participatedin several exhibitions, including theVolkskas Atelier Exhibitions in 1995 and1996. She also participated in the AbsaL’Atelier Exhibitions in 2005 and 2008.Description of artwork:This work is inspired by an illustrationdone in August 1910 by black heavy-weight boxing champion, Jack Johnson.It depicts the highs and lows of John-son’s fight against white man JamesJefferies. The black and white ribbon inthis composition conveys a message ofprotest against crime and abuse, whichare a constant threat to our society.These epidemics affect the youth andwoman primarily in South Africa. Hersubject matter visually portrays theconnotation linked to ribbons. Therepetitive element of the ribbon rep-resents the manner in which we wearit as well as the generation of aware-ness it creates. An awareness ribbon isunderstood and worn by anyone.Liversage, Kilmany-Jo (Née Hunt)BellvilleThe fight in black and whiteMixed media(Twelve-part)29,5cm x 29,5cm each
  60. 60. 59Lotz, Hannah-Ada (Paton)PretoriaNo matter if you black or pitch black:I’m free to be black as I amI am super blackPhotography(Diptych)a) 108,5cm x 76cmb) 108,5cm x 76cmDescription of artwork:Throughout her day the artist ob-serves and venerates all the beauti-ful coatings of people around her.She is fascinated by the visual feastof different tonalities of skin colour.Her lens has zoomed spontaneous-ly into the finer details and shadesof people with pitch-black skin, anavenue unexplored.In these avenues she noticed anastonishing amount of ice creambeing eaten. This ‘sweet tip’ wentstraight into studio and hasbecome a most enjoyable way tocreate portraits. The shoot lasts aslong as the ice cream lasts. Truehappiness is captured - ice creamon skin.Profile:Lotz was born in 1974 and studiedBA(BPK) Business Communication atthe University of Potchefstroom. Shealso obtained a Diploma in CommercialPhotography at the National College ofPhotography. She has participated inseveral exhibitions, including the AbsaL’ Atelier Exhibition in 2005, whereshe was selected as one of the top tenfinalists. She also participated in theAbsa L’ Atelier Exhibition in 2007.
  61. 61. 60Lüneburg, NathaniPretoriaDreaming of homeVideo/DVD2 min 30 secProfile:Lüneburg was born in 1982 andstudied BA(FA) at the University ofPretoria.She also studied MA(FA)at the University of Pretoria.Shehas participated in several exhibi-tions,including the Absa L’AtelierExhibition in 2004 where she wasselected as one of the top tenfinalists.She also participated inthe Absa L’Atelier Exhibitions in2005 and 2006.She was selectedas a Merit AwardWinner in 2006.She also participated in the AbsaL’Atelier Exhibition in 2007.Description of artwork:This work is based on dreams theartist experienced during her three-month stay in Melbourne (October2008 – December 2008).Beingaway from her familiar surround-ings,the artist often found herselflost in her own bizarre dreams.These dreams consisted of strangeever-changing images,referring toher greatest fears and fantasies ofher past and present life.Intriguedby how the brain can capture im-ages and produce them during astate of sleep – a state where shedoes not have control over what shesees or feels,she decided to create amind-map of her dreams,docu-menting them based on what shecould remember.
  62. 62. 61Mailula, Sepolwana JonasPolokwaneThe callingAcrylic on board48 cm x 98 cmProfile:Mailula was born in 1981 and studied forthe N6 National Certificate in Art andDesign at the Northern Province Commu-nity College. He has participated in severalexhibitions, including the Absa L’AtelierExhibition in 2008.Description of artwork:Back in the olden days our parents usedto call the people for a meeting with thekudu horns. Today we use the vuvuzelas tosupport our teams. Through this paint-ing the artist wants to call the people tocome to our country to support the 2010FIFA World Cup.
  63. 63. 62Makoatsa,Teboho JusticeJohannesurgJo’burg my Jo’burgOil on canvas50,5cm x 101,5cmProfile:Makoatsa was born in 1984 and is a self-taught artist.Description of artwork:Here the artist depicts Johannesburg withthe Marble Tower, the city of dreams.
  64. 64. 63Makoatsa,Teboho JusticeJohannesurg2010 BattlegroundOil on canvas50,5cm x 102cmDescription of artwork:In this painting the artist depicts CocaCola Park in celebration of South Africahosting Africa’s first 2010 FIFA World Cup.
  65. 65. 64Makoatsa,Teboho JusticeJohannesurgKeep working …JoziOil on canvas50,5cm x 101,5cmDescription of artwork:This work depicts the expansion of theJohannesburg cityscape.
  66. 66. 65Maxiniva,WongalethuEast LondonBlack diamondsOil on canvas87,5cm x 63cmProfile:Maxiniva was born in 1983 and obtaineda National Diploma in Fine Arts at theWalter Sisulu University.Description of artwork:In this work the artist portrays a coupleat a social gathering.
  67. 67. 66Mbedzi, RudzaniThohoyandouMusangwe (Traditional boxing)Wood28cm x 35cm x 27cmProfile:Mbedzi was born in 1980.Description of artwork:In this wooden sculpture the artist depictsthe traditional art of boxing.28cm x 35cm x 27cm35 7
  68. 68. 67Mbedzi, RudzaniThohoyandouMine boyWood32cm x 14cm x 19,5cmDescription of artwork:In this wooden sculpture, Mbedziportrays a mineworker.ohm,,Tho32cm x 14cm
  69. 69. 68McLachlan, Alastair JamesJohannesburgWhile you walk back and forthMixed media98cm x 123cm x 10cmProfile:McLachlan was born in 1974 and obtained a BAdegree from the University of Natal, majoring in Artand Drama. He has participated in several exhibi-tions, including the Absa Atelier Exhibition in 2001,the Absa L’Atelier Exhibitions in 2002, 2003, 2004,2005, 2006, 2007 and 2008. He also received an AbsaL’Atelier Merit Award in 2002.Description of artwork:‘First there is a drive-in.Then there is no drive-in.Then there is’.This holographic illusion or suspensionof time is a poetic summary of the stages of enlight-enment; before, during and after. McLachlan usesthis illusionary method as a metaphor for the proc-ess of change... a proud monument and a tombstone.A birth, death and resurrection rolled into one…essentially an endeavour to save this moment, whiletime and meaning move inexorably onward.P fil D i ti f t
  70. 70. 69Meistre, Brent ArthurEast LondonThe stranger who lickedsalt back into our eyesDVD installation5 minDescription of artwork:The stranger who licked salt back into ourseyes loosely narrates the history of thearrival of a stranger in a land where he hascome to find himself and his love.The stranger from foreign lands bringswith him knowledge,which is on one levelenlightening but also burdening,a dis-ability.With him he carries all his tools andcrafts, the prosthesis he needs to surviveand to carry on his melancholic search.Bound to the earth through his disability,he cannot escape his serpentine exist-ence. He burrows through the landscapearchaeologically,unearthing historical evi-dence with hints of apocalyptic revelationsof what has brought about his fate.The soundtrack is a traditional Swahililove song Malaika (Angel/love),as sungon the east coast of Africa.The song haslong been described as an unofficial PanAfrican anthem. It has been adapted andreworked as sung by Harry Belafonte andMiriam Makeba.The song is sung from theperspective of a young lover who marriesdue to financial woes.Profile:Meistre was born in 1975 and studied forthe BA(FA) at Rhodes University, Graham-stown. He also studied for the MA(FA)degree at the same university, which hereceived with distinction. He obtained aPostgraduate Diploma in Higher Educa-tion with distinction at Rhodes Univer-sity, Grahamstown. He has participatedin several exhibitions, including the AbsaAtelier Exhibition in 2001 where he waschosen as Merit Award Winner. He alsoparticipated in the Absa L’Atelier Exhibi-tion in 2005.
  71. 71. 70Milovanovic, MasaPretoriaAffective, screaming headless torso and hybridMixed media installation200cm x 200cm x 200cmProfile:Milovanovic was born in 1985 and studiedBA(FA) at the University of Pretoria.Description of artwork:In a sense we have all become cyborgs,hybrid organisms that fuse human,machine and animal into a new embodi-ment or disembodiment. Contemporarysociety’s way of life is being alteredthrough our extensive use of technolo-gies, giving birth to new forms of pos-sibilities for the human body, lifestyle andconsciousness.
  72. 72. 71Minné, LinkhaPort ElizabethOval vanity setMixed media(Triptych)37cm x 28cm x 13,5 eachProfile:Minné was born in 1986 and studied forthe National Diploma in Fine Arts at theNelson Mandela Metropolitan University,Port Elizabeth. She also obtained theBTech(FA) degree at the Nelson MandelaMetropolitan University, Port Elizabeth.Description of artwork:The work consists of three plaster‘vanity’cases each with a glass dome lid. Insideeach case are wax palms and the attach-able fingers.The cushions on which theserest are sanitary pads, tampons and facecotton pads.Beautification and/or meeting society’sstandards in some cases de-feminiseswomen, which are represented by theunused female hygienic products.unused female hygienic products.
  73. 73. 72Mlangeni, Sabelo WonderboyJohannesburgSafe, free, bloodPhotographic print139cm x 97cmProfile:Mlangeni was born in 1980 and studied aphotography course at the Market PhotoWorkshop, Johannesburg.
  74. 74. 73Mlangeni, Sabelo WonderboyJohannesburgSafe abortionPhotographic print139cm x 97cmDescription of artworks:After an incident where a baby wasdiscovered in a dustbin, the artist beganto notice how many flyers were pastedrandomly all over the city. It seemed asif ‘quick and easy’ abortions were readilyavailable to all, even more so during holi-days. This aspect became the focus pointof the artist’s work. His interest was alsofocussed on the HIV/Aids pandemic.
  75. 75. 74Mokgotho, Hendrick NareJohannesburgStolen MokgothoMixed media70cm x 70cmProfile:Mokgotho was born in 1986 and is cur-rently studying BA(FA) at the Universityof the Witwatersrand.Description of artwork:Stolen Mokgoto implements the idea thatthe artist is a brand – a brand identifiedmost notably through its distinctivename, with more intensity. Instead ofintrusively including himself as a col-laborative partner in the creation of otherartist’s works, he has chosen to includethe signature of another artist on one ofhis works.
  76. 76. 75Moloto, Itumeleng BenetteBloemfonteinThe discipleAcrylic on canvas90cm x 60cmProfile:Moloto was born in 1979 and studied artat the Mmabana Cultural Centre.Description of artwork:This painting depicts the baptism ofa disciple.
  77. 77. 76Mosopa,Tshepo GordonPretoriaUntitledMixed media27cm x 46cm x 24cmProfile:Mosopa was born in 1985 and studiedFine and Applied Art for two years at theTshwane University of Technology,Pretoria. He is currently studying Print-making at the Artist Proof Studio.Description of artwork:The wheel is the metaphor to explore theconcept of how fragile life is. Althoughthe glass is covered by the tyre it can fallout and break at any time.The tar rep-resents the hardness of life – filled withpotholes and pitfalls.Description of aThe wheel is the metapltmfThe wheel is the metapconcept of how fragiletmfconcept of how fragilethe glass is covered by tout and break at any timresents the hardness ofpotholes and pitfalls.
  78. 78. 77Ncaphayi, Mongezi ZanemvulaJohannesburgDialogue with the strayedLinocut56cm x 74cmProfile:Ncaphayi was born in 1983 and studied for the Na-tional Diploma in Art and Design at the EkurhuleniEast College of Art and Design.Description of artwork:Through this work the artist portrays his fascinationwith collecting specific kinds of tools associated withhard labour. These discarded objects became meta-phors of our history,which is layered with emotion.
  79. 79. 78Nekhavhambe, Mbavhalelo ImmanuelThohoyandouFetish charmsVideo1 min 50 secProfile:Nekhavhambe was born in 1981 and stud-ied for the BTech(FA) degree.Description of artwork:The artist took Nkisi from its culturalplace and treated it as something totallydifferent than what it was originally cre-ated for.
  80. 80. 79Pretorius, AletPretoriaRain IIDigital print49,5cm x 67,5cmProfile:Pretorius was born in 1980 and studiedB(Journ) at Rhodes University,Grahamstown.Description of artwork:As a photo journalist, Pretorius is oftenplaced in unfamiliar situations and byrecording certain events, places her ina position of a better understanding ofother people, cultures and events. Experi-encing the beauty and the ugliness in theworld makes you appreciate your own lifeand makes you tolerant towards otherpeople’s lives and way of living. Here shecaptured a person sheltering fromthe rain.
  81. 81. 80Pretorius, Lorinda SamanthaPort ElizabethRendering illusionMixed Media45,5cm x 34,5cm x 25cmProfile:Pretorius was born in 1987 and studiedfor the National Diploma in Fine Arts atthe Nelson Mandela Metropolitan Uni-versity, Port Elizabeth.Description of artwork:Multiple sheets of glass are inserted intoa stand and arranged in a linear mannerto create an illusion of a three-dimen-sional image.or
  82. 82. 81Rautenbach, Janice LynPort ElizabethSee meClay and cement200cm x 200cmProfile:Rautenbach was born in 1977 and studiedfor the BTech(FA) degree at the NelsonMandela Metropolitan University, PortElizabeth.Description of artwork:The work consists of 32 small fragilewhite ceramic pots. Every pot rests on ablock of cement.The blocks of cement areplaced in a grid formation and deals withthe personal and the cultural identity ofthe artist as a white person.
  83. 83. 82Reen, Joanne LouisePort ElizabethNestHuman hair and hairspray10cm x 10cm x 10cmProfile:Reen was born in 1976 and studied for theBTech(FA) degree at the Nelson MandelaMetropolitan University, Port Elizabeth.Description of artwork:The nest-like form symbolising a nurtur-ing place of safety, was created fromcrocheted, female hair. Hair is a referenceto the recollection of past traditionalfeminine roles. As Catherine de Zeghersuggested“hair is the symbol of remem-brance; the timelessness of hair reflectsthe timelessness of memory.”The workis gender-motivated and questions post-feminist identity in contrast to pre-femi-nist desires to please and comfort.
  84. 84. 83Rosin, Stephen JohnBellvilleRangefinder (2009)Mixed media45cm x 97cm x 92cmProfile:Rosin was born in 1975 and studied forthe National Diploma in Fine Arts atthe Technikon, Port Elizabeth. He alsoobtained his BTech(FA) degree cum laude.He has participated in several exhibitions,including the Absa L’Atelier Exhibition in2007 and 2008. He was chosen as a topten finalist in 2008.Description of artwork:A range-finder is a device that measuresthe distance from the observer to a spe-cific target.The purpose of this is to accu-rately aim the weapon in order to exacta‘kill’.The rangefinder game is based onluck and chance and therefore contra-dicts this idea of accuracy.The piece isintended to mimic museum installation,showcasing a toy from a bygone era.Thisgives the work an archival identity, whichgenders a degree of authenticity andbelievability in the piece.
  85. 85. 84Rosin, Stephen JohnBellvilleThe devil makes his Christmas piefrom politicians’ tongues and bankers’fingers (2008)Mixed media58cm x 80cmDescription of artwork:The work is a visual adaptation of the Englishproverb“The devil makes his Christmas piefrom lawyers’tongues and clerks’fingers”.Itspeaks of the current propensity of concen-trating wealth and power in the hands of anelite few while disregarding the need of many.It shows a group portrait of what couldpossibly be a government, cabinet or boardmembers of a bank or corporation.The formis purposefully garish and is intended toexpress and satirise the often flashy superfi-ciality of the overly wealthy and powerful.
  86. 86. 85Saayman,Wynand PhilippusBellvilleKits-KosMixed media164cm x 65cm x 33,5cmProfile:Saayman was born in 1984 and studiedBA(FA) at the University of Stellenbosch.He has participated in several exhibitions,including the Absa L’Atelier Exhibitions in2007 and 2008.Description of artwork:This is an ongoing project in which theartist investigates the (visual) identity ofthe Afrikaner male.
  87. 87. 86Sales, Lynda Dorothy (Lyndi)BellvilleCarbon cloudMixed media104,5cm x 155,5cmProfile:Sales was born in 1973 and studied BA(FA)(Printmaking) at the University of CapeTown,which she obtained with distinc-tion. She also studied for the MA(FA) at theUniversity of Cape Town,which she alsoobtained with distinction. She has partici-pated in several exhibitions,including theAbsa Atelier Exhibition in 2001 and in theAbsa L’Atelier Exhibitions in 2003, 2004,2005,2006,2007 and 2008. She was alsoselected as a top ten finalist in the AbsaL’Atelier Exhibitions in 2003 and 2005,whilst she received a Merit Award in 2007.Description of artwork:The artist was initially interested in usingcarbon paper from a printmaking perspec-tive as a medium of multiplication. Butrather than using the paper as‘ink’shewas more fascinated in the carbon paperas the final product.The recordable traces,in negative,of animage or text that are left behind in layerson the iridescent electric blue of the carbonpaper are almost forensic.Carbon paperused to create sensitive documents canbe subjected to forensic analysis and isthus a concern within information security.Therefore,it must be shredded or otherwisedestroyed to maintain security.The artistgathered carbon paper waste from variousinstitutions that were obliging and begancutting electric cloud formations intothe paper.
  88. 88. 87Shabalala, Mbhekiseni VictorDurbanThe scapegoatMixed media53cm x 31cm x 24cmProfile:Shabalala was born in 1975. He grew upon the Ardmore farm in the Natal Mid-lands and returned to the farm after heleft his job at Shoprite Checkers. He hasparticipated in several exhibitions.Description of artwork:The Zulu people slaughter goats toperform their rituals and it reminded theartist of Jesus Christ in one way or an-other.The knobs on the body depict thesins that the scapegoat carries on behalfof everybody.
  89. 89. 88Shabalala, Mbhekiseni VictorDurbanMother of the nationMixed media50cm x 24cm x 21cmDescription of artwork:Mother of the nation is portrayed in sucha manner as to make us aware that shecan feed the nation.uche
  90. 90. 89Shoul, Marc GaryJohannesburgCasbah roadhouse, King George Road,Brakpan, 2008Photography61,5cm x 59cmProfile:Shoul was born in 1975 and studied forthe National Diploma in Photography atthe Port Elizabeth Technikon. He also ob-tained his BTech degree in Photographyat the Port Elizabeth Technikon. He hasparticipated in several exhibitions.Description of artworks:This is a depiction of some of the day-to-day activities in the small mining townof Brakpan on the East Rand, Gauteng.
  91. 91. 90Shoul, Marc GaryJohannesburgDown town sports bar, Elliot Road,Brakpan, 2008Photography61,5cm x 59cm
  92. 92. 91Snyman,Wessel SheaBellvilleOn the mechanics of loss and melancholyMixed media56cm x 70cm x 26cmProfile:Snyman was born in 1985 and studiedBA(FA) at the University of Stellenbosch.He is currently reading for an MA(FA) atthe University of Stellenbosch. He hasparticipated in several exhibitions.Description of artwork:This is a mechanical piece that audiblycopies the emotional journey through lossand the melancholy that follows.ancholy that follows.
  93. 93. 92Strydom, EstiBellvilleCameleopardalusPhotographic print55,5cm x 83,5cmProfile:Strydom was born in 1985 and studiedBA(FA) (Photography) at the MichaelisSchool of Fine Art, University of CapeTown. She has participated in severalexhibitions and received several awards.Description of artwork:The illustration of the animal comesfrom the 16th century and was drawn bysomeone who has never seen a giraffefirst-hand and who had to conjure upan image from the imagination and oraldescriptions.This illustration is re-photo-graphed on slide film, projected onto andinto a real specific site and documentedto show some proof of the performance/intervention.
  94. 94. 93Stuart-Clark, Lucy BenaEast LondonDomestic confrontationMixed media(Sixteen-part)30cm x 23cm eachProfile:Stuart-Clark was born in 1987 and iscurrently studying BA(FA) at Rhodes Uni-versity, Grahamstown.Description of artwork:Inspired by Victorian silhouettes andcameos, Domestic confrontation wasinspired by Victorian woman question-ing the notion of an idealised woman inthe 21st century. Most often a woman isconsidered‘ideal’if she can maintain agood home while pursuing a successfulcareer.The irony is that most South Afri-can career women are often only able tomaintain their homes because they havehired help. In theory, this would make theSouth African domestic worker an‘ideal’woman – she is able to make money fromkeeping the home together. It is, however,not her home. Domestic confrontation ex-plores this tension by contrasting certainSouth African consumer goods – brands,which are often targeted towards par-ticular races.
  95. 95. 94Thobejane, Nkahloleng LucasPolokwaneAnother shiftWood47cm x 23,5cm x 12cmProfile:Thobejane was born in 1973. He trainedas a carpenter and had no formal train-ing in art. He has participated in severalexhibitions, including the Absa L’AtelierExhibition in 2006.Description of artwork:South Africa has many minerals andtherefore different kinds of mines. Manypeople work in the mines to provide foodfor their families.nother shiftWood7cm x 23shiftshift3,5cm x 12cm
  96. 96. 95Thobejane, Nkahloleng LucasPolokwaneSarie tea pleaseWood40cm x 12,5cm x 10,5cmDescription of artwork:There is a man called Tom who loves tea.Everyday he opens his window and win-dow curtains and calls Sarie his employeethat it is tea time.T
  97. 97. 96Tschudin, Carolyn DominiquePolokwaneRootsCharcoal95,5cm x 191,5cmProfile:Tschudin was born in 1984 and studiedfor the National Diploma in Fine Arts atthe Tshwane University of Technology,Pretoria.Description of artwork:This artwork portrays the roots of all or-ganic life and who you are through yourDNA, your heritage, the beginning of lifeand memory.
  98. 98. 97Tshivhandakano, NdwamatoThohoyandouWoman and child abuseLinocut51,5cm x 42cmProfile:Tshivhandakano was born in 1982 andstudied Art at Matongoni. He has partici-pated in several exhibitions, including theAbsa L’Atelier Exhibitions in 2005, 2006and 2008.Description of artwork:The artwork depicts women and childabuse.
  99. 99. 98Tully, Ann-Marie PatriciaJohannesburgAnilogos: Space dog, Sputnik VOil on canvas28,5cm x 35cmProfile:Tully was born in 1976 and studied MA(FA)at the University of the Witwatersrand. Shehas participated in several exhibitions, in-cluding the absa L’Atelier Exhibition in 2007.Description of artwork:Domination of animals is encoded into thevery structure of language.Try and followthe word‘cats’with‘whom’and your spell-check will quickly alert you to the moreappropriate‘that’.This work is concernedwith upstaging the animetaphor by assign-ing language and thoughts to creatureswho have before and after Descartes beennothing more than automata supposedlyfunctioning without sentence, thought andlanguage.
  100. 100. 99Van Zyl, AdellePretoriaNameless things #14Mixed media63,5cm x 63,5cmProfile:Van Zyl was born in 1981 and studiedBA(VA) at Unisa.Description of artwork:The work portrays categories, labels,names, etc. and that we are caught up indefinitions and in trying to fit in.
  101. 101. 100Visser, Marguerite ElizabethBloemfonteinPossession/walkway/intersectionOil on wood(Triptych)a) 60cm x 42cmb) 60cm x 42cmc) 60cm x 42cmDescription of artwork:The triptych explores the enchantmentthat preserved natural settings hold forthe city dweller.The paintings are basedon photographs, which documented theartist’s walk on the otter trail in the Tsit-sikamma nature reserve near Knysna.Thewoods are an embodiment of myth andfairytale fear, notions that intersect withthe rational and metaphorical experienceof cultivated pleasure.Profile:Visser was born in 1985 and studiedBA(FA) at the University of the Free State,Bloemfontein.
  102. 102. 101Wargau, Fabian OliverPretoriaScreen drip: 08Enamel paint on canvas152cm x 121,5cmProfile:Wargau was born in 1984 and studiedBA(VA) at Unisa.Description of artwork:The artwork investigates new ways toequate with pixels from a televisionscreen paint on canvas.This process hasled the artist to create works that denythe televised experience as a whole– capturing only instances of a‘real’visual – any minute part of the screen, oreven screen-shots in their entirety. Dropsof enamel paint are in essence‘interlaced’as a television screen would when medi-ating a broadcast using colouration thatis limited only to the RGB, the red, greenand blue.The concept deals with media-tion as well as reality.
  103. 103. 102Washkansky, DaleBellvilleCleaveMixed media73,5cm x 89,5cmProfile:Washkansky was born in 1980 and studiedBA(FA)at the Michaelis School of Fine Art,University of Cape Town. He is currently read-ing for an MA(FA) at the same university.Description of artwork:The image grapples with the notion of a wil-ful return and an aching separation.The im-age was constructed by physically collagingnegatives to make a composite and singularnegative.The process remains the mark-ings of erasure and compilation.The figuresthereby retain wounds, which separatesthem from the background.The masculineand feminine figures therefore remain dis-connected from each other, locked into theirrespective spaces in which the environmentbecomes bruised hinting at a vacuous emp-tiness beneath the photographic surface.
  104. 104. 103Watermeyer, Robert WilliamBellvilleOnseepkans port of entry, 14th August 2008Photography75cm x 90cmProfile:Watermeyer was born in 1983 and studiedBA(FA) at the Michaelis School of Fine Art,University of Cape Town. He is currentlyreading for an MA(FA) at the MichaelisSchool of Fine Art, University of Cape Town.Description of artwork:Onseepkans port of entry, 14th August 2008is a border control point between SouthAfrica and Namibia.The artist is presentlyinvestigating the border posts of SouthAfrica and this work forms part of a largerbody of work.
  105. 105. 104Watermeyer, Robert WilliamBellvilleGolela port of entry, 29 August 2008Photography74,5cm x 90cmDescription of artwork:Golela port of entry, 29 August 2008 isa border control point between SouthAfrica and Swaziland.The artist is inves-tigating the border posts of South Africaand this work also forms part of a largerbody of work.
  106. 106. 105White, ErnestineBellvilleWho am I? Who are you?Mixed media39cm x 52cmProfile:White was born in 1976 and studied BA(FA) at theSchool of Art and Design, Purchase College, New York.She also studied MA(FA) at the Michaelis School of FineArt, University of Cape Town.Description of artwork:While on a residency in Colombo, Sri Lanka the artistencountered the word Kaffir, which is used to describea community of people who are of African descentwithin the Sirambiyadia region of the country.Theartist’s interaction with the word has forced herto re-evaluate the symbolic content inherent in itsmeaning and its relation to her as an individual witha specific geographical and historical background. Likememories, words are not concrete things but rathersymbols that contain a deeper set of meaning, thatsymbolically represent a particular context that is notalways clear and changes over time.
  107. 107. 106Whitehead, Johanna Jacoba (Hanje)JohannesburgPartouse de poisons (Orgy of fish)Mixed media42cm x 12,5cm x 120,5cmProfile:Whitehead was born in 1985 and studiedBA(FA) at the University of Pretoria. She hasparticipated in several exhibitions, includingthe Absa L’Atelier Exhibitions in 2007 and2008.Description of artwork:The artwork consists of three leather kineticfish on a stainless steel box.The artistworks with fish for its unrivalled symbolismrelated to the lives of humans whose livesbecome as restricted as that of fish. Ourdaily lives become patterns of our existence.,5 ,5
  108. 108. 107Wildenboer, BarbaraBellvilleBirds of preyMixed media(Five-part)43,5cm x 43,5cm eachProfile:Wildenboer was born in 1973 and studiedBA(Ed) at the University of Pretoria. Shealso studied BA(VA) at Unisa and MA(FA)at the Michaelis School of Fine Art, Uni-versity of Cape Town. She has partici-pated in several exhibitions, including theAbsa L’Atelier Exhibitions in 2003, 2005and 2008.Description of artwork:Birds of prey consist of a series of fivediscarded natural history referencebooks, the pages having been manipu-lated into forms that are more sculp-tural. The artist’s working process entailssourcing from different reference booksand transfering and juxtaposing imagesand text from different pages ontoeach other to create new visual hybrids.Reference is made to processes of cross-referencing and intertexts as it occurs inscientific study.
  109. 109. 108Wright, Linda KathrynPort ElizabethTranscending prosperityMixed media153cm x 66cm x 66cmProfile:Wright was born in 1976 and studiedBA(FA) at Rhodes University,Grahamstown.Description of artwork:The chandelier epitomises material wealthand luxury and is usually found in thefoyer or entrance to a building or home,looming powerfully and authoritativelyover our heads and dominating our firstimpression as we enter the interior andgaze upward.The artist inverted the chandelier toreverse its position to the polar oppositeto directly negate this intention. In doingso the artist is grounding it to the surfacebeneath our feet and in turn it growsupward like a tree to meet our gaze. Inthe current economic depression andprevailing global scarcity consciousness,she invites the viewer to transcend thematerial and rise above the value we placeon luxurious commodities and the exhibi-tion of wealth to bringing it down from itshigh status to base level.
  110. 110. 109Ziqubu, Sicelo Victor SandileJohannesburgUnfinished story of 2010 FIFA World CupMixed media installation180cm x 200cm x 200cmProfile:Ziqubu was born in 1974 and obtained aPublic Relations Diploma. He has partici-pated in several exhibitions, including theAbsa L’Atelier Exhibition in 2008, where hewas selected as a top ten finalist.Description of artwork:This is an incomplete story of the soccertournament to be held in South Africa nextyear. It is hoped that this tournament willbrighten the lives of our South African rain-bow nation as well as our guests who willbe arriving in aeroplanes from elsewhere.
  111. 111. 110Previous Absa L’Atelier Winners1986WinnerPenny SiopisMerit Award WinnersDeborah BellAndrew BreebaartDennis PurvisSimon Stone1987WinnerClive van den BergMerit Award WinnersAndries BothaPhilippa HobbsTommy MotswaiKarel Nel1988WinnerDiane VictorMerit Award WinnersKay CowleyGuy du ToitJohann LouwMargaret Vorster1989WinnerHennie StroebelMerit Award WinnersCaroline JonesWalter OltmannGiulio TambelliniJeremy Wafer1990WinnerBarend de WetMerit Award WinnersAndrew BreebaartJean BruwerGuy du ToitJudy Woodborne1991WinnerVirginia MacKennyMerit Award WinnersNicole DonaldRuth MilehamJohann van der SchijffPierre van der Westhuizen1992WinnerPaul EdmundsMerit Award WinnersWayne BarkerMarc EdwardsDominic ThorburnMinette Vári1993WinnerDominic ThorburnMerit Award WinnersSiemon AllenDiek GroblerAdam LetchRussel Scott1994WinnerJonathan ComerfordMerit Award WinnersAndrew PutterKevin RobertsHenk SerfonteinAlastair Whitton1995WinnerKevin RobertsMerit Award WinnersMoses CetywayoGordon FroudDiek GroblerPeet Pienaar1996WinnerIsaac KhanyileMerit Award WinnersHanneke BenadéWim BothaSamkelo BunuBerco Wilsenach1997WinnerIlse PahlMerit Award WinnersLucas BamboCecile HeystekKim LiebermanRichardt Strydom(Known as Volkskas Bank Atelier Competition up to 1998 and from 1999 to 2001 known asAbsa Atelier Competition)
  112. 112. 1111998WinnerKarl GietlMerit Award WinnersWayne BarkerHanneke BenadéJean BrundritPeter Rippon1999WinnerRyan ArensonMerit Award WinnersBrad HammondFritha LangermanAlbert RedelinghuysVanessa van Wyk2000WinnerBrad HammondMerit Award WinnersJoni BrennerNatasha ChristopherColbert MashileNigel Mullins2001WinnerStefanus RademeyerMerit Award WinnersMarco CianfanelliDaniel HirschmannBrent MeistreMerryn Singer2002WinnerMarco CianfanelliMerit Award WinnersNatasha ChristopherAlastair McLachlanBenninghoff PurenJames Webb2003WinnerSanell AggenbachMerit Award WinnersRetha BornmannNatasha ChristopherPatricia DriscollBerco Wilsenach2004WinnerConrad BotesMerit Award WinnersStephen HobbsPieter HugoLize MullerRobert RichGerard Sekoto WinnerBelinda Zangewa2005WinnerBerco WilsenachMerit Award WinnersKatherine BullLawrence LemaoanaPatrice MabasaMikhael SubotzkyGerard Sekoto WinnerLawrence Lemaoana2006WinnerRuth SacksMerit Award WinnersNathani LüneburgRiason NaidooAnet NorvalJames WebbGerard Sekoto WinnerNomusa Makhubu2007WinnerPierre FouchéMerit Award WinnersNina BarnettWayne MatthewsLyndi SalesJaco SpiesGerard Sekoto WinnerNina Barnett2008WinnerJames WebbMerit Award WinnersChristiaan HattinghLunga KamaAlhyrian LaueAtonia SteynGerard Sekoto WinnerRetha Ferguson