0326 absa 2007 l'atelier catalogue lowres

Behind every door lies...
Absa L’Atelier 2007

Open up
Doors open. Doors close. Behind every door, there
is a reality. For each of us, that reality is different.
For the artist, the challenge is to find a unique
way to express that unique reality.
For 22 years now, the Absa L’Atelier Awards,
incorporating the Gerard Sekoto Award, have
been opening doors for young artists. These
awards also afford us the privilege of a glimpse
into these talented young people’s realities.
Open the door. Walk with Absa through an
unparalleled experience, expressed in art.

Door no 1

The Absa L’Atelier Award
The Absa L’Atelier Art Competition is presented annually by
Absa in conjunction with SANAVA (South African National
Association for the Visual Arts). It is a competition for young
artists in the age group 21 to 35 years. Works of art were
selected in Bellville, Bloemfontein, Durban, Johannesburg,
East London, Port Elizabeth, Pretoria and Thohoyandou by a
local panel of selectors guided by Guy du Toit on behalf of the
National President of SANAVA. The selected works of art have
been sent to Johannesburg for final adjudication.

National Selection Panel
Guy du Toit, Coordinator
David Andrews, Johannesburg
Fritha Langerman, Cape Town
Vulindlela Nyoni, Pietermaritzburg
Kevin Roberts, Pretoria
Air ticket to Paris, France sponsored by Absa
This catalogue has been compiled by Cecile Loedolff, Manager:
Art, Group Marketing, Absa.
Published by Absa, member of the Barclays Group.
2007 Absa L’Atelier Awards Catalogue ISBN 978-0-620-38917-4

2

Introduction

Guy du Toit, Coordinator
The Absa L’Atelier Awards is 22 years old and no longer a teenager. It is
still as always an important platform for artists and the prizes are
impressive research and networking opportunities for under thirty fives.
I am reluctant to call them young or emerging artists as many have
established careers and are producing mature work.
It is said that the most important decision an artist takes is the decision
whether or not to release a work into the public domain, and in this case,
subject one’s personal vision to a rather ironic selection and judication
process. The winning works are determined by all the other works on the
exhibition; they are informed by and stand in relationship to this gestalt.
Change some of the selected works and the potential that the winners
would be different becomes real. So too, works that were not selected
helped determine those that were and vice versa. Every artist who
submitted art has contributed to the final exhibition and effectively to
the winners and they should all be applauded. The sponsors, selectors
and adjudicators should also be thanked as the Absa L’Atelier Awards
would be nil without them.
The exhibition as a whole sets up a narrative that is specific to the
particular selection of artworks. Bring in the selectors and adjudicators,
each with their peculiar readings of this whole and its parts, and we
should have exponentially divergent takes on the final laureates, but and
this always amazes me, consensus is arrived at with relative ease.
However, what is even more interesting and important is you, the viewing
public, for it is you who complete the whole process by giving the time
to interact and react with the individual works, the whole exhibition, and
in effect judge the jurors’ judgements. Thank you all and enjoy the show.

Door no 3

Foreword

Changing the reality of young artists in South Africa has been the metier of
the Absa L’Atelier, Africa’s longest-running art competition, for 22 years now.
Over the years, many an upcoming artist has eagerly crossed the threshold
into the light of recognition ignited by winning a L’Atelier or Gerard Sekoto
Award. Most have gone on to make a significant impact on the world of
the arts – through their body of work and through their inspired teaching.
The opportunity to nurture the arts offered by a sponsorship incorporating
these two awards is something we at Absa prize most highly. In our quest
for pre-eminence in South Africa and on the African continent, it behoves us
to open doors for the burgeoning talents of this richly diverse environment.
We have always been careful to ensure that our involvement in the arts goes
beyond bestowing stature and prestige in the form of a sought-after award.
It is the two sponsored sabbaticals at the Cité Internationale des Arts in
Paris, France, that give these awards their undoubted power to influence
the South African art scene.
This international exposure – and the time and money young artists are
granted to pursue their muse – differentiates the L’Atelier and Gerard Sekoto
Awards from anything else South Africa has to offer its upcoming artists.
It gives me a great pleasure to celebrate the latest crop of L’Atelier and
Gerard Sekoto talent by means of this catalogue.
– Steve Booysen
Absa Group Chief Executive

4

Gerard Sekoto Award

Gerard Sekoto (1913 – 1993)
Sekoto was born at Botshabelo near Middelburg in the former Transvaal
on 9 December 1913. His early paintings depicted scenes from Sophiatown,
District Six and Eastwood near Pretoria.
He left South Africa in 1947 for Europe and settled in Paris in voluntary
exile where he lived until his death in 1993. As an African Parisian he
always yearned for his South African roots and identity, which he depicted
with much nostalgia in many of his works.
In Paris and with the support of the French loving public, doors eventually
opened for Sekoto to explore his own creativity. With this award we
honour Gerard Sekoto. The French Embassy, the French Institute and the
Alliance Française, felt it appropriate to create such an award to support
the most promising artist with an income of less than R60 000 per
annum. This award will hopefully open yet another door for a young
South African artist in the city of love and art, namely Paris.

Door no 5

Gerard Sekoto Award: 2004

An unparalleled portal
The realities of building a career as an artist were very different for Billie Zangewa after she
stepped out as a Gerard Sekoto Award winner.
Plucking up the courage to re-open the door to a career in art after ten successful years in the
clothing industry, paid off for Billie Zangewa (34) when she won the first Gerard Sekoto Award
in 2004.
“Without the exposure my solo exhibition as a winner afforded me and the kudos of having
received this well regarded award, it would have been much more of a struggle to gain recognition
as an artist,” Billie says.
She knows. Fresh out of Rhodes University ten years before, she had pursued her dream but
found the going too hard.
“In Gaborone, I worked and worked at it, but I just couldn’t make headway, having to do everything
– and pay for everything – myself. The kind of support and exposure Absa’s prize has given me
makes all the difference.”
Once she had recovered from the surprise and ecstasy of winning, Billie took off for her sabbatical
in the Cité Internationale des Arts in Paris determined to make the most of this wonderful prize.
“Strangely enough, I had formed an interest in the French language right from my early days
in primary school in Botswana. Being able to talk to the Parisians in their own language – albeit
badly – certainly helped. I found they thawed to me quite quickly.”
Billie says the location and ambience of the Cité could not have been better. She gained much
from her exposure to French and international art and artists, as well as from wandering the
streets, shops and galleries of Paris.
“Much of what European artists do is so simple. Their art is about ordinary things. They take the
ordinary and make something extraordinary of it. That is what informs my work to this day. It
appeals to me.”
Now that she has been living her dream for three years, Billie feels no trace of the boredom and
restlessness that plagued her in the days when she couldn’t give up her day job. And the portal
to her happiness was the Gerard Sekoto Award.

Door no 7


A firm step into the future
An enticing reality awaits Lawrence Lemaoana on the other side of the door that the Gerard
Sekoto Award opened up for him in 2005.
Spending from June through August last year in the Cité Internationale des Arts cast a whole
new light on his art career for Lawrence Lemaoana (25).
“It was an incredible time for me. I got to explore many other works of art and my time in
Paris made me take a different look at my own work,” says Lawrence.
“The people I met seemed very interested in how my identity as a South African informed
my work. I was more used to striving to be as international as possible in my expression.”
So, for Lawrence, infusing his French experience into his work came down to feeling more
free, to be unashamedly local.
“Another thing I realised from the conversations I had with other artists and from examining
their concepts, was that we South Africans have more of a sense of humour than most. I
enjoy adding an element of surprise to my work. You lose nothing when you laugh,” Lawrence
points out.
A realisation of the wealth that we have as South Africans also came out strongly for
Lawrence during his time overseas.
For one, he realised that it was relatively easy for him to adapt to a foreign culture because
of his varied experience growing up in this country.
“My parents are black and hard working, but none too wealthy. They value a good education
and saw to it that I went first to an Indian primary school and then to a former Model C
school in a largely Jewish community. Multi-culturalism comes naturally to me.”
So, although winning the Gerard Sekoto Award and going to Paris took Lawrence out of his
comfort zone, he had the right mindset to gain as much as possible from it right from the start.

8

“Being away from home and part of
such a vibrant art community put me
on the right footing to delve into my
being as an artist. Having stepped
through that door, I am seeing my
future in a new light. I know art is
going to be my life.”
Having that certainty, as well as the
opportunity to exhibit his work and
the recognition of his potential worth
as an artist, is important to Lawrence.
“Art was never part of my family
background. It took a leap of faith for
my parents to accept my choice when
I started studying fine art at the
University of Johannesburg,” he says.
“I think they feel more secure about
my prospects after I gained my BTech
degree and when I received the
Gerard Sekoto Award.”

Door no 9


Opportunity opened up
When Sasa Makhubu stepped through the door that winning last year’s Gerard Sekoto
Award opened for her, she met a plethora of opportunities that changed her reality.
Not only did winning the Gerard Sekoto Award in 2006 gain Sasa Makhubu (23) her first
residency, it also opened up a world of opportunity and a whole new reality.
“I was bowled over to win. I hadn’t even expected to make it past the provincial selections
for the award,” says Sasa.
“And then, before I even left for Paris, I was also awarded Amnesty International’s Woman
of the Year Award in the arts category.”
During her three months in the Cité Internationale des Arts, Sasa mixed with gallery owners
and plenty of artists with whom she could exchange ideas.
“I met people who knew Sekoto and I saw places where he lived and worked. It was
breathtaking. I absolutely appreciate everything.”
She was also exposed to a diverse selection of art and artists, both visual and performing,
during her time in Paris. “This made me look beyond boundaries,” she says.
Even after Sasa’s return, her time in the Cité has yielded a sustained interest in her work.
Just last month, she heard that her work has been selected for an exhibition in this year’s
Jeune Creation in November.
“I also met people who informed me about other programmes, such as the Bamako African
Photography Biennial, which I am hoping to participate in later this year, and I managed
to put up an exhibition at the Cité, called face to face, which gave me a bit of exposure and
a variety of opinions about my work,” she says.
“During the exhibition I was invited to participate in the Kunsthorten Exhibition, which was
unfortunately discontinued because of a lack of funding. Nonetheless, that was quite an
achievement.”

10

This year, Sasa has also been
nominated for the Shoprite/Checkers
Woman of the Year Award.
She certainly never dreamed that her
interest in art, which started while
she was at school and was fuelled by
seeing her elder brother working on
his collages and paintings, would
take her so far.
“My brother’s work is still a major
influence on my art,” Sasa points out,
“and my family has always been a
real blessing to me.”
The context of the Vaal Triangle,
where Sasa grew up, has also led her
to question issues of identity and her
link to Grahamstown as a historical
space. That is where she has spent
the past four years studying, first for
her Bachelor of Fine Arts and now for
her Masters in Art History.
In future, Sasa hopes to indulge her
love of drama, music and writing, as
well as pursuing her artistic career.
Her dream is to have a studio where
other young artists will also be able
to work.

Door no 11

Pierre Fouché Winner
Bellville
The distance between us III
Mixed media
106,5cm x 105cm

12

Nina Ruth Barnett

Johannesburg
Voda voda
Animation
2 min 24 sec
Merit Award

Door no 13

Wayne Matthews

Port Elizabeth
Europa’s libation
Mixed media
46cm x 58cm x 37cm
Merit Award

14

Lynda Dorothy (Lyndi) Sales

Bellville
How long can you hold your breath
Found objects
82cm x 72,5cm
Merit Award

Door no 15

Theodorus Ignatius Jacobus (Jaco) Spies

Bloemfontein
Palimpsest koppie
Animation
Infinite time
Merit Award

16

Nina Ruth Barnett

Johannesburg
Voda voda
Gerard Sekoto Award
Animation
2 min 24 sec

Door no 17

18
‘07 top ten finalists

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Door no 19

20
‘07 top ten finalists

6 Sarel Jansen van Rensburg 1 Nina Barnett

7 Marlise Keith 2 Lynette Bester

8 Wayne Matthews 3 Lothar Böttcher

9 Lyndi Sales 4 Rikus Ferreira

10 Jaco Spies 5 Pierre Fouché

Door no 21

Armstrong, Beth Diane

East London
Hybrid vigour
Mixed media
(Triptych)
a) 175cm x 31cm x 53cm
b) 175cm x 31cm x 53cm
c) 175cm x 31cm x 53cm

Profile: Armstrong was born in 1985. She is currently The power of imagination and the power of change.
studying BA(FA) at Rhodes University, Grahamstown. These sculptures stand taller than the artist herself,
which creates a metaphor for power that art critics
Description of artwork: These three dog- have over the artists. Ironically without the artists they
men busts on three light grey plinths, represent power. would not exist.

22

Barnett, Nina Ruth

Johannesburg
Voda voda
Animation
2 min 24 sec

Profile: Barnett was born in Johannesburg in 1983. She Description of artwork: This animation consists
studied BA(FA) at the University of the Witwatersrand. of a series of red cups filled with water making a journey
through the city of Belgrade from a public fountain to a gallery.

Door no 23

Bester, Lynette

Bellville
Le Marteau sans Maitre
Salvaged stand up piano
190cm x 120cm x 110cm

Profile: Bester was born in 1978.
She studied BA(FA) at the
University of Stellenbosch, which
she obtained cum laude.
Description of artwork:
Le Marteau sans Maitre – The
hammer without a master, is a
kinetic sculpture created from
salvaged parts of a piano. The
parts were reassembled in order
to make a new object that moves
and makes sound. It challenges
the perception of a found object
and its place in society. The art-
work’s title comes from a poem
written by Rene Char in 1933 and
Pierre Boulez’s music score of 1955.
This is the artist’s interpretation
of a hammer without a master
with direct reference to the
process of producers.

24

Boshoga, Aubrey Thabang

Johannesburg
I’m a junkie
Mixed media
(Four-part)
a) 50cm x 30cm
b) 50cm x 30cm
c) 50cm x 30cm
d) 50cm x 30cm

Profile: Boshoga was born in Mamelodi, Pretoria in see how it destroys people’s lives. ‘I’m a junkie’ consists
1972. He studied BA(FA) at the University of Durban- of four works, trying to warn the people not to get
Westville. addicted to it and to those who are to stop using drugs.
Hessian material is used to create texture in his
Description of artwork: Many people in South paintings but it also has a special meaning for him as
Africa are using drugs and because of this they are it is not only a potato bag but it was also utilised for
losing their jobs, cars and loved ones. It is painful to cleaning, scrubbing and bathing like the orange sack.

Door no 25

Botes, Sybrandt Lourens (Brandt)

Bellville
Stick figures in peril
Digital print
76cm x 59cm

Profile: Botes was born in 1975
and studied BA(FA) Applied
Graphics at the University of
Stellenbosch.
A warning sign composed entirely
of warning signs. The immediate
association with danger is
undermined by the playful nature
of the iconography and the
situations the stick figures find
themselves in.

26


Bellville
Love
Digital print
76cm x 59cm

Pastiche of Robert Indiana’s best
known image. The sperm and egg
cells making up the word LOVE,
questions its meaning and purpose.
It adds an additional layer of
information and meaning that works
both and against it – on the one hand
a possible visual analogy of the word
and on the other hand a Trojan Horse.

Door no 27


Bellville
Green peace
Digital print
76,5cm x 59cm

The work portrays an image of a
bomb made of natural elements –
the duality of this image can be
interpreted as nature fighting back
or nature becoming a weapon
(natural disasters); or alternatively,
nature being erased by the fragility
of our environment and the state
of natural resources. The answer is
not supplied and the viewer is left
to make this decision.

28

Böttcher, Lothar Otto

Pretoria
3 Roamers #1
Glass and steel
183cm x 50cm x 47cm

Profile: Böttcher was born in
1973 and studied Fine Arts at the
Tshwane University of Technology.
He has participated in several
exhibitions, including the Absa
L’Atelier Exhibition in 2005.
In his sculptures glass becomes
the focal point. The viewer is
drawn to the anomaly in space
and becomes aware of the
surroundings within the glass.
These lenses show a point of view
(abstractly), changing perspective
and observation of the contiguous
space. These works can be
manipulated (moved around) to
change their locality. In this way
the viewer can observe the space
around him or her. This is not a
static work and needs the
interaction of the viewer,
changing their perspectives on
their environment.

Door no 29


Pretoria
3 Roamers #2
Glass and steel
183cm x 50cm x 47cm

30


Pretoria
3 Roamers #3
Glass and steel
183cm x 50cm x 47cm

Door no 31

Card, Jayde

Port Elizabeth
Can you hear us? Series I
Mixed media
(Triptych)
a) 60cm x 50cm
b) 60cm x 50cm
c ) 60cm x 50cm

Profile: Card was born in East London in 1985. She namely child abuse. Card wanted to expose and explore
is currently studying for the BTech(FA) degree at the the social conditions within our society through her art-
Nelson Mandela Metropolitan University, Port Elizabeth. work, hopefully encouraging a process of healing within
our communities and at the same time creating conscious
Description of artwork: This artwork consists awareness. She has chosen to be a voice for the young
of a series of drawings where repeated or similar imagery and helpless, those that have fallen victim to child abuse.
of dolls were used and changed to convey a specific topic,

32

Clüver, Frances Rose Mannix

East London
Do you know Him from a bar of soap?
Mixed media
89,5cm x 160cm x 11cm

Profile: Clüver was born in 1985. She is currently Description of artwork: Mass consumer
studying BA(FA) at Rhodes University, Grahamstown. culture has led to apathy and desensitisation especially
when it comes to the topic of religion. This work hopes
to interrogate the effects of mass production on our
thoughts and feelings towards Christ and spirituality.

Door no 33

Cronjé, Karen

Bellville
Flesh
Ink on paper
(Twenty-part)
36cm x 30cm each

Profile: Cronjé was born in 1975. She studied BA(FA) and order things to enable them to make sense, and
at the University of Stellenbosch, which she received somehow she was drawn to an image of coloured
cum laude. She also obtained an MA(FA) at the University ceramic tiles. She found it impossible to reconcile this
of Stellenbosch. She has participated in several variety of colour with the odd variety of colours in her
exhibitions, including the Absa Atelier Exhibition in 2001. crayon box. Another childhood fascination was the
colour samples at hardware shops – specifically the
Description of artwork: Cronjé’s mother names given to the different colours.
introduced her to the idea of evolution by showing her
an illustrated book on this theme. This book illustrates With this work entitled ‘Flesh’, she tried to find a
Felix von Luschan’s chromatic scale of flesh colour connection between these childhood perceptions and
variations of the human race. Cronjé has always been her love for colour. Living in South Africa, connotations
fascinated by the way in which humans need to classify with race in terms of skin colour is unavoidable.

34

De Jager, Maureen Susan

East London
Held still #1, #2, #3
Mixed media
(Triptych)
a) 38cm x 66cm x 10cm
c) 44cm x 66cm x 14cm

Profile: De Jager was born in 1973 and studied BA(FA) for which the teddy bear acts as a metaphor. The title
at the University of the Witwatersrand, which she suggests that some childhood experiences remain with
obtained with distinction. She also studied MA(FA) at us in adult life – they are ‘held still’ or still held onto as a
the University of the Witwatersrand, which was also source of comfort. But another meaning of ‘held still’
obtained with distinction. She has participated in would suggest that something is held in an unmoving
several exhibitions. position, frozen and immobilised, much like the bears in
the sculpture. In this sense the desire to hold onto the
Description of artwork: ‘Held still’ alludes to past paradoxically transforms that past into a rigid and
the difficulties we sometimes have in distancing ourselves unresponsive shell, which provides little comfort.
from the past and from certain childhood experiences,

Door no 35

De Villiers, Christelle

Pretoria
Untitled
Mixed media
77,5cm x 104cm x 32cm

Profile: De Villiers was born in 1984 and studied for the consist of her drawings and texts which she collected
BTech(FA) degree at the Tshwane University of Technology. and rendered. The books are in different formats, for
example pop-up and pull-outs, which explore issues
Description of artwork: De Villiers explores regarding the Anglo Boer War.
the notion of the book as an art form. These books

36

De Wet, Bevan Jordan

East London
Old goal series
Mixed media
(Triptych)
a) 56,5cm x 68cm
b) 56,5cm x 68cm
c) 56,5cm x 68cm

Profile: De Wet was born in
1985 and is currently studying
BA(FA) at Rhodes University,
Grahamstown.
This series was inspired by the
drawings on the cell walls in the
old goal at Grahamstown. While
the images are simple, the
complexity of emotion conveyed
in each image can be attributed
to each prisoner’s sense of
confinement and struggle for
freedom. In this series De Wet
used private and hidden
experiences to reveal haunted and
solitary existence.

Door no 37

Du Preez, Michelle

Port Elizabeth
Museum of memories
Mixed media
(Five-part installation)
56cm x 200cm x 200cm

Profile: Du Preez was born in
Port Elizabeth in 1985 and studied
for the National Diploma in Fine Arts
at the Nelson Mandela Metropolitan
University, Port Elizabeth.
’Museum of memories’ is the title
of a series of works in glass that
explore the notion of memory. In
some sense this is a quest for
happiness, a reflection of a state of
mind, a new beginning and the
striving for reconnections.
According to the artist glass, as
medium, provokes intuitive feelings
of vividness and the sensation of
being visible yet untouchable.

38

Engelbrecht, Barend Jacobus (BJ)

Profile: Engelbrecht was born in
1983 and studied BA(FA) at the
Johannesburg
University of the Witwatersrand. He Goodbye Afrikaans
is currently reading for an MA(FA) Digital print
at the University of the 119cm x 84cm
Witwatersrand.
This work has multiple meanings
and is open to interpretation. It
began quite spontaneously. While
watching Noot vir Noot one evening,
as he has done a thousand times
before, it brought back memories of
his mother shouting out song names
and lyrics before most of the
contestants could do the same. Noot
vir Noot, then in its twenty second
season but although he does not
watch it with his mother anymore,
he wanted to capture this feeling of
loss, a lost moment, tradition, culture
and ritual.
As an Absa client he was assisted in
English by an Afrikaans-speaking
woman who struggled with English
but persevered. He ascertained then
that Absa employees are restricted
to the use of English in the
workplace. This is understandable
to some degree but also problematic
and in this work he wants to stress
that BJ Engelbrecht or Goodbye
Afrikaans is in no way offering a
solution.

Door no 39

Ferreira, Rikus

Bellville
Ou storie rou storie
Pen and ink on paper
84cm x 102,5cm

Profile: Ferreira was born in 1976 and obtained a Description of artwork: This is a narrative
BA(FA) as well as an MA(FA) from the University of dealing mainly with the idea of invasion – whether on
Stellenbosch. He has participated in several exhibitions, a personal, cultural, religious or political level.
including the Volkskas Bank Atelier Exhibition in 1999
and the Absa L’Atelier Exhibitions in 2003 and 2004.

40

Ferguson, Sophia Margaretha (Retha)

Pretoria
The slippery finch
Photography
122,5cm x 104,5cm

Profile: Ferguson was born in
1984 and is currently studying BA(FA)
at the University of Pretoria.
This work explores the continuous
yearning for a specifically
unattainable and idealistic moment.
The concept applies specifically to
photography where people always
want to capture the ‘perfect’ moment
and make it last for ever. This
moment, however, always seems to
escape us and results in a constant
unfulfilled longing for something
just out of reach. The result is that
we never experience the actual
present moment for what it should
be and often miss the beauty of the
seemingly insignificant.
With the cage, the work plays a pun
on the double meaning of capture
in the photographic sense (capture
an image) and in the sense of
catching or seizing a bird. The bird
in this context stands as a metaphor
for the ideal moment.

Door no 41

Ferguson, Sophia Margaretha (Retha)

Pretoria
Shadow matinée
Photography
64,5cm x 85,5cm

Description of artwork: With ‘Shadow matinée’ the way in which light and shadows play at that time of
the artist pays tribute to the beauty of light in the late the day, as a beautiful theatrical performance.
afternoon. In her title she refers to the theatre as she sees

42

Fouché, Pierre

Bellville
The distance between us III
Mixed media
106,5cm x 105cm

Profile: Fouché was born in 1977 and studied BA(FA) Description of artwork: The work is an
at the University of Stellenbosch, which he obtained ‘unfinished’ tapestry depicting two young men posing
cum laude. He also studied MA(FA) at the University of for a photograph on the beach. The one figure
Stellenbosch, which he also obtained with distinction. represents the artist’s father who is shying, ever so
He has participated in several exhibitions, including slightly, away from the touch of the muscular arm
the Absa L’Atelier Exhibitions in 2004 and 2005. resting on his shoulder. A touch is seldom removed
from the possibility of its disavowal.

Door no 43

Fuller, St John James Zair

Pretoria
I forget why
Photography
156cm x 107,5cm

Profile: Fuller was born in 1974 and studied BA(FA). witnessed by the independent apertures to bleed into
one another. This opens up the possibility of creating
Description of artwork: This photograph was a new compound of what reality represents. Where
taken by a camera with specially designed multiple there are no absolutes but instead faint suggestions,
lenses. It was created to allow each of the views a probability of what might have been was created.

44

Gee, Edna

Pretoria
Edna magazine (Celebrity)
Mixed media
151,5cm x 30cm x 68cm

Profile: Gee was born in 1984
and studied BA(FA) at the
University of Pretoria.
This installation consists of a
perspex magazine stand and four
digitally printed magazines. These
images explore the concepts of
glamour and celebrity culture.

Door no 45

Gutter, Pauline Gertruida

Bloemfontein
Bullet proof
DVD installation
4 min 15 sec

Profile: Gutter was born in 1980
and obtained a BA(FA) degree at the
University of the Free State. She has
participated in several exhibitions,
including the Absa L’Atelier
Exhibitions in 2002, 2003, 2004,
2005 and 2006.
At first glance it is quite clear that the
bullet-proof window adds extra
emotion. It gives the impression that
the message on the DVD does not
only demonstrate a collage of
‘propaganda’ orientated
phenomenon, concerning the
annihilation of common farmers, but
expose real live events. Once flawless
and unbreakable, the defeated bullet-
proof window now confronts the
onlooker. This installation gives us a
multidimensional feeling adding to
the realism of being put into the
shoes of one who survived a farm
attack.

46

Hefer, Marleon

Pretoria
Oorsig/Oorskot
Mixed media

Profile: Hefer was born in 1983 and studied BA(FA) book contains figures that are all to an extent immersed
at the University of Pretoria. in a sea of suspicion due to either a certain lifestyle,
standard, a specific event or maybe a mere hairstyle.
Description of artwork: This work deals with Each nation has its heroes and its mobs; a group of
a non-comprehensive view on the history of semi-South sensitive characters that play a defining role in a
African icons which are depicted in a photo album. The country’s identity. This book is dedicated to them.

Door no 47

Hendrikz, Roan

Pretoria
Transfor’motion
Mixed media
200cm x 200cm x 200cm

Profile: Hendrikz was born in 1980 and studied for the is that of unchanged motionlessness. The structure of
BTech(FA) degree at the Tshwane University of Technology. the artwork is of such a nature that it portrays motion
or movement as well as notions of origin in nature,
Description of artwork: There are different leaving traces of its source in fossilised earthly imagery.
aspects to the symbolism of rocks, but the most obvious

48

Hlongwa, Bongumusa

Durban
My hero
Mixed media
76,5cm x 52cm

Profile: Hlongwa was born in 1984.
He is currently studying for the
National Diploma in Fine Arts at the
Durban Institute of Technology.
Brett Kebble is the artist’s hero
because of his support and
encouragement of artists. He
associated his hero, Kebble, with its
king of the jungle ‘lion’ and the
‘leopard’, which is associated with
the Zulu Kingdom because of its skin
the Zulus wear. By using these
elements he tries to portray Kebble’s
power, inspiration and gift of taking
care of other people.

Door no 49

Jansen van Rensburg, Martli

Pretoria
Conversations with history
Mixed media
200cm x 200cm x 200cm

Profile: Jansen van Rensburg was
born in 1977 and studied for the
National Diploma in Fine Arts at the
Technikon Pretoria. She also studied
for the BTech(FA) degree at the
Technikon Pretoria. She is currently
reading for an MTech(FA) degree at
the Tshwane University of
Technology. She has participated in
several exhibitions, including the
Absa L’Atelier Exhibitions in 2004
and 2005.
This artwork is all about people who
make their mark in many different
ways. They capture a moment in time
as well as in memory. They rewrite
and redefine history, ideas, concepts,
images, forms, patterns, art and
design. Jansen van Rensburg took a
picture of an historical moment.

50

Jansen van Rensburg, Martli

Pretoria
Circle on line
Mixed media
195,5cm x 18cm x 36,5cm

The artist interactively combines
through installation and fusion,
‘pure form’ objects and symbols in
space. She explores the dynamics of
‘non-functional’ objects left in space.
The wall becomes the straight line
and the glass and felt the circle.

Door no 51

Jansen van Rensburg, Sarel Petrus

Pretoria
Overstand
Mixed media
39cm x 21,5cm x 30cm

Profile: Jansen van Rensburg
was born in 1970 and studied for
the BTech(FA) degree at the
Technikon Pretoria.
This work embodies a small
voodoo type doll that portrays the
absurdity of the mixed cultures
and at the same time appropriates
each other’s customs wrongly.

52

Jooste, Liebet Marie

Pretoria
White room
Video
2 min 24 sec

Profile: Jooste was born in 1983 and studied BA(FA) peaceful confrontation and reflection of her journey
at the University of Pretoria. with anxiety disorder: Introspection, sadness,
bewilderment, tenseness, distraction, insecureness,
Description of artwork: The application of looking in the wrong places and drunkenness.
white paint in this video is a symbol of the artist’s

Door no 53

Keith, Marlise

Bellville
The inkling wars: Saints and cavities
Mixed media
120cm x 200cm

Profile: Keith was born in 1972 and studied BA(FA) at Description of artwork: The artist is
the University of Pretoria. She also studied MA(FA) at the questioning potential hero-ness such as lily-livered Pac-
University of Stellenbosch. She has participated in several men or shiny knights. According to her it turns out that
exhibitions, including the Volkskas Bank Atelier Exhibition they are equally burlesque and creepy.
in 1996 and the Absa L’Atelier Exhibition in 2006.

54

Le Roux, Angeline-Ann Johanna

Bellville
Night shelter
Newspaper and metal

Profile:Le Roux was born in 1973 and studied BVA at all requiring the same basic necessities for survival.Weaving
Unisa. represents the complex interwoven qualities of social
structure. The work focuses on shelter as the most basic
Description of artwork: ‘Night shelter’ is a requirement of human survival and the bed (place to sleep)
three dimensional work executed mainly from newspapers embodies the intrinsic private place, so essential to the
(the paper of the people), the bedding of the homeless. The concept of home. The frayed edges serve to emphasize the
woven newspaper squares are linked by a chain which lack of stability experienced when people are uprooted and
forms an integral part of the bed and symbolises the without protection or shelter. The bed rests on springs, a
manner in which all humans are linked by biological factors reference to comfort.

Door no 55

Liesching, Carla Elizabeth

East London
Untitled
Photography
(Six-part)
64cm x 54cm each

Profile: Liesching was born in 1985 and is currently are also explored. The aim was to explore the dynamics
studying BA(FA) at Rhodes University, Grahamstown. at play in the construction of the artist’s own national
identity, namely that of a white South African with a
Description of artwork: The focus of this German/Dutch heritage. She used herself, her boyfriend,
particular series centres on personal identity related her sister and a close friend as models at play posing
to history. The view of identity as representation and as a family unit.
artifice as well identity as fiction or a series of narratives

56

Lindi, Nyaniso

East London
Assimilation
Video
1 min 3 sec

Profile: Lindi was born in 1973 and studied BA(FA) Many questions came to the fore regarding Nongqawuse
at Rhodes University, Grahamstown, which he did not and her visionary abilities.
complete. Nongqawuse was used as a reference to create this
Description of artwork: As a young South animation entitled ‘Assimilation’ because of the
African Xhosa, who grew up in the Eastern Cape, the assimilation of people into the western way of doing
artist finds it difficult to erase the imbedded idea that things, i.e. talking, dressing, etc. The objective of the
the previous generation could not think independently. work was not to force the idea but to enable people to
fill the missing clues and create their own meanings.

Door no 57

Lossgott, Kai

Johannesburg
Alpha
Video
3 min 3 sec

Profile: Lossgott was born in Germany in 1980 and woman seemed the only person the owner of the book
studied B(Journ) at Rhodes University, Grahamstown. had ever really known.

Description of artwork: ‘Alpha’ is a video If you repeatedly forgot every person you knew, and searched
exploring unspeakable embodied languages of recurrent for ciphers that might remain, you might in your surrender
loss and gain, such as memory or intuition, and the discover the approach of some imaginary person, half-
vulnerability and violence whereby any identity is formed. sensed, half-glimpsed by intuition. Not a ghost, not an
Lossgott found an address book in a demolished apartment archetype exactly, but an empty form waiting to be filled,
in Cape Town. The page for A had been torn out. The rest something like an unspoken, unremembered word.
was blank, except for one address, under B for Beatrice. This

58

Lotz, Hannah-Ada (Paton)

Pretoria
Year of the pig
Photography
(Four-part)
a) 54,5cm x 48,5cm
b) 54,5cm x 48,5cm
c) 46,5cm x 48,5cm
d) 46,5cm x 48,5cm

Profile: Lotz was born in 1974 and studied Business The year of the pig always brings completion, ending
Communication at the University of Potchefstroom. in grandeur and perfection.
She also studied BA Journalism at Unisa. She has Lotz’s Chinese sign is the tiger. She thought it
participated in several exhibitions, including the Absa appropriate to make a close and personal connection
L’Atelier Exhibition in 2005 where she was selected as with the pig. The three little pigs were first to come to
one of the top ten finalists. mind. Not only did she find it humorous but also a
Description of artwork: The year of the pig good example of how eastern and western cultures
greeted us on 18 February 2007 and stays with us until have different connections and expectations regarding
6 February 2008. This year ends the 12-year cycle of the same subject matter.
Chinese astrology that started with the year of the rat.

Door no 59

Lüneburg, Nathani

Pretoria
If I did(n’t)
Video
3 min 46 sec

Profile: Lüneburg was born in 1982 and studied BA(FA) artist has chosen to illustrate the corporeal as well as
at the University of Pretoria. She also studied MA(FA) at the the psychosomatic struggles evident in the complicated
University of Pretoria. She has participated in several choice-making process involving termination of
exhibitions, including the Absa L’Atelier Exhibition in 2004, pregnancy. It focuses on the emotional theatre of war
where she was selected as one of the top ten finalists. She present in the mind of an awaiting mother-to-be. The
also participated in the Absa L’Atelier Exhibitions in 2005 images of the black and white figure performing an act
and 2006, where she was selected as a merit award winner. of unity and then a mutual disappearing act, suggest
the relationship between the opposites in the female
Description of artwork: ‘If I did(n’t)’ is a visual character’s mind. It explores the collapse of boundaries
metaphor for the sorrow, confusion and bareness between moralities and immoralities; wrong and right
lingering in a woman’s heart after and during the process and just and unjust during the female character’s
of an abortion. Through this stop-frame animation, the decision-making.

60

Mabasa, Patrice Mashangu

Thohoyandou
The listener
Ceramic
47cm x 29cm x 35cm

Profile: Mabasa was born in 1973 and studied for Description of artwork: This artwork depicts
the BTech(FA) degree at the Technikon of the a man who likes to listen to the news over the radio.
Witwatersrand. He has participated in the Absa L’Atelier
Exhibitions in 2005 and 2006 He also received an Absa
L’Atelier Merit Award in 2005.

Door no 61

Mabasa, Patrice Mashangu

Thohoyandou
Mr Mafenya
Ceramic
47,5cm x 31,5cm x 36cm

Description of artwork: Mafenya means to
laugh in Tsonga. Mr Mafenya is thus a person who likes
to laugh.

62

Mabindla, Bayanda

East London
Anguish of poverty
Paint and clay
65cm x 20cm x 19,5cm

Profile: Mabindla was born in
1984 and obtained a National
Diploma in Fine Arts at the Walter
Sisulu University, East London.
Poverty is a phenomenon that
affects every person directly or
indirectly. The stove with its flames
that keeps burning is a symbol of
poverty. The anguished face
screams daily for relief from poverty.

Door no 63

Maphangwa, Shonisani

Johannesburg
Viewing Toledo
Acrylic on canvas
(Triptych)
a) 60,5cm x 25cm
b) 60,5cm x 50cm
c ) 60,5cm x 25cm

Profile: Maphangwa was born in 1985 and obtained Description of artwork: The work of art
a National Diploma in Fine Arts from the University of investigates the connections between Europe and Africa
Johannesburg. She is currently studying for the in terms of their spirituality and notions regarding their
BTech(FA) degree at the University of Johannesburg. belief systems. The work endeavours to draw the line
between the familiar and unfamiliar subject matter.

64

Maswanganyi, Collen

Johannesburg
The politicians
Wood and paint
48,5cm x 28cm x 14,5cm

Profile: Maswanganyi was born in the village of selected as one of the top ten finalists of the Absa
Noblehook, Giyani, in 1977. He obtained the National Atelier Exhibition in 2001.
Diploma in Fine Arts at the Technikon of the Description of artwork: Four wooden figures
Witwatersrand. His father, the well-known sculptor, are carved and placed on a wooden base with the DA, ANC
Johannes Maswanganyi, taught him woodcarving. He and ID logos carved onto the base. The artwork portrays
has participated in several exhibitions nationally and the many identities of politicians and how unpredictable
internationally, and received several awards. He was they are. It is left to the viewer to identify them.

Door no 65

Matthews, Wayne

Port Elizabeth
Sheath your sorrows
Mixed media
(Triptych)
a) 92,5cm x 44,5cm x 49cm
c ) 98cm x 53,5cm x 53cm

Profile: Matthews was born in 1982 and studied for Conversely, it is structurally dependant on the most rigid
the National Diploma in Fine Arts at the Nelson and ordered of human ideas, namely, the right angle. One
Mandela Metropolitan University, Port Elizabeth. He of the most elementary expressions of the right angle
obtained the BTech(FA) degree cum laude from the being the cross, the Christian myth of a ‘man-god’ is
Nelson Mandela Metropolitan University, Port Elizabeth. unavoidably implicated, his death a consummation of the
He has participated in several exhibitions, including concord with materiality. And so the chair becomes
the Absa L’Atelier Exhibition in 2006. representative of concepts dealing not only with religion
and mortality or materiality but with broader notions of
Description of artwork: A chair is an extension humanity’s philosophical interactions with itself.
of the organic human form, an after-image of its anatomy.

66

Matthews, Wayne

Port Elizabeth
Europa’s libation
Mixed media
46cm x 58cm x 37cm

’Europa’s libation’ is a metaphoric
application of salt to the wound. An
archaic ‘waterbankie’ or ‘washer-
woman’s bench’ is symbolically
preserved in a crystallised layer of salt,
suspending the work in an ephemeral
process. The work extracts moisture
from the air and transports it, along
with some salt, to the tray below.
Accompanying the material
movement of the salt is, more
importantly, conceptual movement; a
flux of implicated meaning that is
evoked by the material’s vast cultural,
anthropological and symbolic
significances.

Door no 67

McLachlan, Alastair James

Johannesburg
Bath house I, 2006
Photography
98cm x 123cm

Profile: McLachlan was born in 1974 and obtained a Johannesburg for 4 years, the artist became accustomed
BA degree from the University of Natal, majoring in Art to and yet continually amazed by the unique dichotomy
and Drama. He has participated in several exhibitions, that is Johannesburg. The inspiration for this
including the Absa Atelier Exhibition in 2001, the Absa photograph came about while witnessing a rather
L’Atelier Exhibitions in 2002, 2003, 2004 , 2005 and 2006. simple, everyday ritual namely that of someone bathing.
He also received an Absa L’Atelier Merit Award in 2002. Simple yet distinctly unique, and vastly removed from
the artist’s own experience. It gave him the feeling of
Description of artwork: Having lived 19 floors realness, which was significant.
above ground in the middle of downtown

68

Mdluli, Same Sizakele

Johannesburg
Coffee stains
Mixed media
(Triptych)
a) 26cm x 34,5cm
b) 26cm x 34,5cm
c) 26cm x 34,5cm

Profile: Mdluli was born in 1983 and studied for the homes, which are very often perceived as decorative
National Diploma in Fine Arts at the Technikon of the and/or kitsch within the artistic discourse. The coffee
Witwatersrand. She also studied for the BTech(FA) degree spills were made by using a coffee mug to form patterns
at the University of Johannesburg. She has participated in of doilies which are common in many South African
several exhibitions, including the Absa L’Atelier Exhibitions homes. It also speaks about a sense of sameness in all
in 2005 and 2006. She also received several awards. homes and refers to the reality of many women of colour
who often do domestic work in many western homes.
Description of artwork: ‘Coffee stains’ form As much as these works may seem to reflect, what might
part of a larger body of work which deals with the notions be considered in the art world as sentimental or even
of categorisation of objects made specifically by black bad taste, their intention is to comment on the nature
women. Through the use of western domestic subjects of patriarchal categorisation of work made by women
and modes of production, such as lace, doilies and plates, across all cultures.
the works resemble objects often found in western

Door no 69

Mudau, Rendani Ronald

Thohoyandou
Dzumbulukwane
Wood

Profile: Mudau was born in 1974 and studied for the Description of artwork: The artist attempts
N2 and N3 Diploma in Arts and Design at the to portray through this work, the immediate attack
Dobsonville College, Johannesburg. without warning and with the aim to kill, disasters
bestowed on humankind, such as the tsunami.

70

Ngilima, Farrell

Johannesburg
I join series II
Mixed media
40,5cm x 51cm x 23,5cm

Profile: Ngilima was born in 1973 and studied for Description of artwork: In this instance the
the National Diploma in Fine Arts at the Technikon of suitcase is used metaphorically as an object implying
the Witwatersrand. travelling, journeying, etc. Here the title suggests
belonging to a group, organisation, incarceration, etc.

Door no 71

Ngwane, Andiswa Astrid

Durban
Untitled
Mixed media
107cm x 65cm

Profile: Ngwane was born in
1983 and is currently studying Fine
Arts at the Durban University of
Technology.
This artwork is an enlarged
scanned photograph of the artist
herself. She questions the notion
of originality and also debates the
issue of the role and relevance of
the artist versus that of digital
media. Furthermore she framed
the image behind glass and used
real fabric to create a heightened
sense of suffocation which the
image implies.

72

Nkosinkulu, Zingisa

East London
Static bind and knot
Mixed media
56,5cm x 117,5cm

Profile: Nkosinkulu was born in 1984 and is currently Description of artwork: This artwork is a
studying for the National Diploma in Fine Arts at the metaphoric representation of currency, which is used
Nelson Mandela Metropolitan University, Port Elizabeth. to pay the electricity. These discs are used to pay for
entry into the municipality system, otherwise you will
be left in the dark.

Door no 73

O’Flynn, Norman Arthur

Bellville
Sunseekers
Mixed media
(Diptych)
a) 21cm x 10,5cm x 11cm
b) 21,5cm x 12cm x 11cm

Profile: O’Flynn was born in 1971 and studied BA(FA) Description of artwork: The sunseekers are
at the Michaelis School of Fine Art, University of Cape representatives of South African tourism. They negate
Town. He has participated in several exhibitions, including the hole in the ozone, political upheaval or racial
the Absa L’Atelier Exhibitions in 2004 and 2005. inequality favouring a two week holiday on Clifton and
an escape from their culturally loaded European history.

74

Pelser, Monique Myren

East London
Roles
Photography
(Six-part)
67cm x 57cm each

Profile: Pelser was born in 1976 and studied BA(FA) are an interrogation of the dynamics between the
at Rhodes University, Grahamstown. She also obtained photographer and sitter, involved in portrait
an MA(FA) degree with distinction from Rhodes photography. The artist took on a process of role-reversal
University. where she consciously became an object of the gaze
and the sitter took on the role of the photographer and
Description of artwork: The six photographs, photographed the artist. The artist literally placed
which are details of a larger body of work of fifty images, herself in their role and into their environment.

Door no 75

Pokroy, Anthea Tracy

Johannesburg
Untitled
Photography
(Four-part)
a) 24,5cm x 30,5cm
b) 30,5cm x 24,5cm
c ) 24,5cm x 30,5cm
d) 24,5cm x 30,5cm

Profile: Pokroy was born in 1986 and is currently even personal, context of herself as an artist. For example,
studying BA(FA) at the University of the Witwatersrand. the universal image of the pietà was reworked by Edwards
and in turn, reinterpreted by the artist. Each adaption
Description of artwork: These four images are acknowledges the fundamental concerns of the original
all interpretations of relatively well-known images, namely image (although, the question arises, what is the true
Paul Delaroche’s The Execution of Lady Jane Grey, David original?). Yet, it is transformed into timeless issues
Edwards’ Untitled (Aids Pietà) and Pierre et Gilles’ St Louis experienced even in contemporary life. Existential questions
de Gonzague.The work deals with the process of reinventing of relationships, religion and identity are broached.
recognisable images and applying them to the social, and

76

Pretorius, Gert Hendrik

Bellville
Study of a drawing studio study
Mixed media
103cm x 200cm

Profile: Pretorius was born in
1985 and is currently studying BA(FA)
at the University of Stellenbosch.
Pretorius works with the concept of
identity. In this work he uses his
privileged background and
education to satirise contemporary
South African society.

Door no 77

Prins, Elizabeth (Liezel)

Durban
Applause
Mixed media
122cm x 68cm x 12,5cm

Profile: Prins was born in 1981
and studied for the BTech(FA)
degree at the Durban Institute of
Technology. She has participated
in several exhibitions, including
the Absa L’Atelier Exhibitions in
2005 and 2006.
The artist attempts to comment on
contemporary society’s impulse to
create and alternate the
representation of reality in order to
sell lifestyles to the indifferent. The
work appears to be dirty and old with
a missing portrait of an arbitrary
person, yet an applause is visually
demanded and the broader society
surrenders to the intentionally
created, exciting stimulation.

78

Ramadi, Thikholwi Bethuel

Thohoyandou
Portrait of my brother
Oil on canvas
85,5cm x 61cm

Profile: Ramadi was born in 1984.
This artwork is a portrait of the
artist’s brother.

Door no 79

Rosin, Stephen John

Bellville
War toy
Mixed media
26cm x 32cm x 45,5cm

Profile: Rosin was born in 1975 and studied for the Description of artwork: ‘War toy’ is a simplified
National Diploma in Fine Arts at the Port Elizabeth description of a system to assist calculations and
Technikon. He also obtained his BTech(FA) degree cum possible predictions of the occurrence of war.
laude.

80

Saayman, Wynand Philippus

Bellville
Uit die mond van die Afrikaner
Photography
(Triptych)
a) 100cm x 68,5cm
b) 105cm x 75,5cm
c) 100cm x 68,5cm

Profile: Saayman was born in 1984 and studied Description of artwork: The artist is currently
BA(FA) at the University of Stellenbosch. busy with a project where he is investigating his own
identity and that of his family. His further interest lies
in the visual image of the white Afrikaner male and the
influence the media has on the portrayal of the subject.

Door no 81

Sales, Lynda Dorothy (Lyndi)

Bellville
How long can I hold my breath
Mixed media
82cm x 72,5cm

Profile: Sales was born in 1973 and studied BA(FA)
(Printmaking) at the University of Cape Town, where she
obtained the degree with distinction. She studied MA(FA)
at the University of Cape Town, which she also obtained
with distinction. She has participated in several exhibitions,
including the Absa Atelier Exhibition in 2001 and the Absa
L’Atelier Exhibitions in 2003 and 2004. She was also selected
as one of the top ten finalists of the Absa L’Atelier Exhibitions
in 2003 and 2005.
Description of artwork: The title of the piece is
derived from the notion that as a child the artist believed
that the longer she held her breath the harder she was
praying and the stronger her message to God would be.
The morning her farther died she held her breath and
prayed that he would arrive home safely.
This piece explores the paradox in the function of a physical life vest. Ironically
When she decided to explore the issues around the
the fragile life vests signify life and death and simultaneously symbolise
Helderberg plane crash, she set out to find a prototype
safety and danger. A parallel is drawn between the physical body and the
life vest to work from. Her research led her to a safety
material object. Deteriorating life vests are representative of lungs as a
company affiliated to SAA. Without revealing what her
source of breath and life. The lung functions to inhale and exhale and the
intentions were with the vest, she was given an old
life vest to perform in much the same way as it inflates and deflates.
damaged life vest, which was exactly the same one that
would have been on the Helderberg passenger aircraft. It is believed that most of the passengers died of smoke inhalation due to
Every vest is stamped with a date of production. the toxic fire on board. The life vests imitate the fragility of life and act as
Coincidently the one given to her was stamped December a metaphor for a delicate existence and the fact that life and death are
1987. The accident occurred on 28 November 1987. separated by one breath.

82

Shadi, Lerato Mmathapelo Thato

Johannesburg
The clustered self
Mixed media
(Diptych)
a) 50cm x 50cm
b) 50cm x 50cm

Profile: Shadi was born in 1979 and obtained a Decription of artwork: Shadi’s work examines
National Diploma in Fine Arts at the University of the notion of sensuality and sexuality as a state of
Johannesburg. She also obtained a BTech(FA) degree at mind, while simultaneously exposing skin as an erotic
the University of Johannesburg. element. The images expose the viewer’s preconceived
notions of intimacy and play into those ideals by
providing a catalyst in the form of abstract flesh that
merely suggests, but reveals very little.

Door no 83

Spies, Theodorus, Ignatius Jacobus (Jaco)

Bloemfontein
Palimpsest koppie
Animation
Infinite time

Profile: Spies was born in 1974 and studied BA(FA) at elements. The animation thus simultaneously reads as a
the University of the Orange Free State. He has vertical map as well as a horizontal landscape. Before the
participated in several exhibitions, including the Volkskas image of the koppie reaches completion, it starts breaking
Bank Atelier Exhibition in 1998, the Absa Atelier Exhibition down. This is not, however, constant during the animation.
in 1999 and the Absa L’Atelier Exhibition in 2005. The animation actually consists of approximately forty
different sections of animation, each on a different timeline
Description of artwork: The subject matter of length, playing simultaneously on one screen to form a
the animation consists of a typical South African ‘koppie’ whole. Superficially the work might read as an attempt to
or small hill, although the one depicted in the animation highlight the issues of land reclamation and redistribution,
is situated just outside Bloemfontein and is called Spitskop. which is a current issue within the contemporary South
The image of the koppie is built up gradually by the African cultural and political landscape.
proliferation of markings which resemble map-like

84

Steyn, Ras

Pretoria
Demo kracy is coming
Digital mono print
80cm x 160cm

Profile: Steyn was born in 1978 and studied for the Description of artwork: This work consists
BTech(FA) degree at the Port Elizabeth Technikon. He of four distorted human bodies combined with insect-
also obtained an MTech(FA) degree cum laude. He has like images. Metaphorically it forms a biological body
participated in several exhibitions, including the Absa which serves as a metaphor for socio-political
L’Atelier Exhibition in 2006. circumstances.

Door no 85

Stretton, Pamela Jayne

Bellville
The ambivalence of eating #1
Mixed media
101,5cm x 101,5cm

Profile: Stretton was born in 1980
and obtained a BA(FA) at Rhodes
University, Grahamstown with
distinction. She also obtained an
MA(FA) at the University of Cape
Town with distinction. She has
participated in several exhibitions,
including the Absa L’Atelier
Exhibitions in 2003 and 2006.

86


Bellville
Mixed media
101,5cm x 101,5cm

Door no 87


Bellville
Mixed media
101,5cm x 101,5cm

Each of these images shows the
mouth in a specific pose: open, half-
open with the tongue visible and
closed. These images could be read
as some of the ambiguous responsive
actions many women feel towards
food and eating. On closer inspection
the works boast another element
entirely. The digital print is pixelated
into a mosaic-type grid, with each
pixel containing a form of
iconography (sourced from various
realms such as food packaging, health
and beauty products or fashion
imagery). The methods used to create
these works involve a controlled and
precise re-working of the prints in the
form of cutting up the individual
pixels and rebuilding the images to
produce a textured and tactile surface
quality. This serves to reflect on the
obsessive control many women exert
on their bodies in the name of beauty
and which is often played out in the
form of eating disorders, whether it
be overeating or undereating.

88

Swanepoel, Nicolene

Pretoria
Binne my A, B en C
Digital print
147cm x 168cm

Profile: Swanepoel was born in 1978 and obtained Description of artwork: This work focuses
a BTech(FA) degree cum laude from the Central on images of a brain scan through which introspection
University of Technology, Free State. is possible.

Door no 89

Swarts,Talita

Pretoria
Kwere-kwere
Mixed media installation
200cm x 200cm x 24,5cm

Profile: Swarts was born in 1982
and studied BA(FA) at the University
of Pretoria, which she obtained with
distinction. She has participated in
several exhibitions, including the
Absa L’Atelier Exhibition in 2004.
This work can be described as a
radio installation which consists of
eleven radios mounted onto three
plywood panels connected to three
cattle horns, which represents the
speakers. It can be described as a
contemporary mural for a new
South Africa and comments on the
current language dilemma we are
facing in South Africa.

90

Taljaard, Johannes Zacharias (Zach)

Port Elizabeth
All for glory
Mixed media
(four-part)
66cm x 42,5cm x 15cm each

Profile: Taljaard was born in 1978 and studied BA(FA) power, triumph and bravery is mockingly glorified with
at the University of Pretoria. He has participated in the addition of a man-made golden light above each
several exhibitions, including the Absa L’Atelier portrait, creating a surrounding radiance or halo usually
Exhibitions in 2000 and 2003. associated with a sacred person. On closer inspection
the portraits show signs of damage and is literally worn
Description of artwork: By photographing out by reproduction using the same mould. Their robes
different self-portrait busts and displaying them as become millstones around their necks. Centuries of lust
traditional portrait photographs, the artist refers to both for power, destruction and wealth, clearly burdening
these traditions as immortalisation of individuals. Portrait their shoulders and at the same time, burdening the
sculpture, associated with funerary contexts, was meant sons with inherited guilt. Do we want to aspire to this
to honour political officials or military commanders, as flawed tradition of ‘all for glory’?
photographs later did. This instinctive need to praise

Door no 91

Thompson, Wesley John

Port Elizabeth
An ointment
Digital animation
4 min 45 sec

Profile: Thompson was born in 1982 and studied for Description of artwork: This animation deals
the BTech(FA) degree at the Nelson Mandela Metropolitan with modern capitalist society and its effect on the
University, Port Elizabeth. human mind. It looks specifically at our culture of
prescription and social conventions.

92

Truter, Carmen Estelle

Pretoria
Out of darkness I,II, III
Digital photographic prints
(Triptych)
a) 60cm x 42cm
b) 60cm x 42cm
c) 60cm x 42cm

Profile: Truter was born in 1975
and studied BVA at Unisa. She is
currently reading for an MVA at
Unisa.
The three panels have a mottled
dark background with red/orange
flesh revealed through the removed
darkness. In appearance these flesh-
like parts resemble fishing lures and
cocoons. The organisms resemble
transformation.

Door no 93

Tully, Ann-Marie Patricia

Johannesburg
Jet Park roofscape: Low res/North and South view
Oil on canvas
(Diptych)
a) 29,5cm x 37,5cm
b) 29,5cm x 37,5cm

Profile: Tully was born in 1976 and studied MA(FA) representation. An important aspect of this work is the
at the University of the Witwatersrand. irony of rendering seemingly undeserving content with
the long-standing and esteemed practice of oil painting.
Description of artwork: These works belong This parody is amusing and also provocatively positions
to a body of work that explores the camera (or optical this work within the discourse of reinventing painting,
artefact) as a device and the notion of the mundane painterly virtuosity and the painted subject in the age
or incidental subject, as a vehicle for sublime and of the anti-artist.
sometimes meaningful interpretation and

94

Van Eeden, Adrienne

Bellville
Wallflower (Set I)
Mixed media
(Diptych)
a) 177cm x 62cm
b) 193cm x 62cm

Profile: Van Eeden was born in 1980 and studied BA(FA) Description of artwork: The work consists
at the University of Stellenbosch, which she obtained cum primarily of two pieces of wallpaper with intricate floral
laude. She also obtained an MA(FA) with distinction at the patterns from which all the flowers and leaves have
same university. She has participated in several exhibitions, been removed. This process involves picking the surface
including the Absa L’Atelier Exhibitions in 2002 and 2003. around the flowers with a needle and then tearing each
object out by hand. The result is an imperfect, fragile
and worked surface. The title references not only the
literal art object, but also the colloquial use of the term.

Door no 95

Walters, John Attwood Vereker

East London
Object/subject (Self-portraits)
Oil on canvas
(Diptych)
a) 64cm x 85,5cm
b) 64cm x 85,5cm

Profile: Walters was born in 1983 and is currently use of colour (cool tones/warm tones) and facial
studying BA(FA) at Rhodes University, Grahamstown. movement (eyes shut/open), it is intended for the viewer
to read these paintings as an inversion of the life/death
Description of artwork: This diptych uses the binary thereby opening up the possibility of a
terms ‘object’ and ‘subject’ to refer to the human body metaphorical and literal resurrection.
in the states of death and life. Through the restricted

96

Western, Natalie Anne (Rat)

Johannesburg
New signature
Inkjet print
25cm x 30cm

Profile: Western was born in 1981 and studied BA(FA) submitted for judging, but also the current practice
as well as MA(FA) at the University of the Witwatersrand. and achievements of the artist concerned. The work
submitted for this competition is a copy of the cheque,
Description of artwork: A competition which which the artist received as a runner-up in an art
aims to acknowledge and promote the career of an competition held in 2006.
emerging artist needs to examine not only the artwork

Door no 97

Whitehead, Johanna Jacoba (Hanje)

Johannesburg
Trike-o-print
Mixed media
159cm x 102cm x 192cm

Profile: Whitehead was born in 1985 and is currently of contemporary society. The patterns were designed to
studying BA(FA) at the University of Pretoria. make up a print, which represents infinity, symbolising
consumerism as a wheel turning, having no beginning
Description of artwork: The concept of this and no end.With repetition of these elements of sensuality
piece is based on the effects that modern life has on and sexuality in the media, we have become apathetic to
sensuality and sexuality. The patterns the artist designed ourselves and the beauty of sensuality.
represent femininity, which becomes a decorative aspect

98

Previous Absa L’Atelier Winners

(Known as Volkskas Bank Atelier Competition up to 1998 and
from 1999 to 2001 known as Absa Atelier Competition)
1986 1989 1992
Winner Winner Winner
Penny Siopis Hennie Stroebel Paul Edmunds
Merit Award Winners Merit Award Winners Merit Award Winners
Deborah Bell Caroline Jones Wayne Barker
Andrew Breebaart Walter Oltmann Marc Edwards
Dennis Purvis Giulio Tambellini Dominic Thorburn
Simon Stone Jeremy Wafer Minnette Vári

1987 1990 1993
Clive van den Berg Barend de Wet Dominic Thorburn
Andries Botha Andrew Breebaart Siemon Allen
Philippa Hobbs Jean Bruwer Diek Grobler
Tommy Motswai Guy du Toit Adam Letch
Karel Nel Judy Woodborne Russel Scott

1988 1991 1994
Diane Victor Virginia MacKenny Jonathan Comerford
Kay Cowley Nicole Donald Andrew Putter
Guy du Toit Ruth Mileham Kevin Roberts
Johann Louw Johann van der Schijff Henk Serfontein
Margaret Vorster Pierre van der Westhuizen Alastair Whitton

Door no 99

Previous Absa L’Atelier Winners

1995 1999 2003 2006
Winner Winner Winner Winner
Kevin Roberts Ryan Arenson Sanell Aggenbach Ruth Sacks
Merit Award Winners Merit Award Winners Merit Award Winners Merit Award Winners
Moses Cetywayo Brad Hammond Retha Bornmann Nathani Lüneburg
Gordon Froud Fritha Langerman Natasha Christopher Riason Naidoo
Diek Grobler Albert Redelinghuys Patricia Driscoll Anet Norval
Peet Pienaar Vanessa van Wyk Berco Wilsenach James Webb
Gerard Sekoto Winner
1996 2000 2004 Nomusa Makhubu
Isaac Khanyile Brad Hammond Conrad Botes
Hanneke Benadé Joni Brenner Stephen Hobbs
Wim Botha Natasha Christopher Pieter Hugo
Samkelo Bunu Colbert Mashile Lize Muller
Berco Wilsenach Nigel Mullins Robert Rich
Gerard Sekoto Winner
1997 2001 Belinda Zangewa
Winner Winner
Ilse Pahl Stefanus Rademeyer 2005
Merit Award Winners Merit Award Winners Winner
Lucas Bambo Marco Cianfanelli Berco Wilsenach
Cecile Heystek Daniel Hirschmann Merit Award Winners
Kim Lieberman Brent Meistre Katherine Bull
Richardt Strydom Merryn Singer Lawrence Lemaoana
Patrice Mabasa
1998 2002 Mikhael Subotzky
Winner Winner Gerard Sekoto Winner
Karl Gietl Marco Cianfanelli Lawrence Lemaoana
Merit Award Winners Merit Award Winners
Wayne Barker Natasha Christopher
Hanneke Benadé Alastair McLachlan
Jean Brundrit Benninghoff Puren
Peter Rippon James Webb

100

0326 absa 2007 l'atelier catalogue lowres

0326 absa 2007 l'atelier catalogue lowres

0326 absa 2007 l'atelier catalogue lowres

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