#: locale=en
## Tour
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Giants
Bokang Nkejane
Details:
Mixed media
142 x 122 cm
Price:
R800
Description:
The story of David and Goliath would’ve lacked energy if Goliath wasn’t a giant.
Fragile
Bongani Tshabalala
Details:
Not Signed
Digital photograph
60 x 90 cm
Price:
R7 500 (Edition 1/7)
Description:
Artist leaves blank intentionally.
Basis II
Kay Fourie
Details:
Signed
Charcoal on Academia paper
117 x 155 cm
Price:
R10 000
Description:
The building of a wind farm comprises of many steps, one of which is the pouring of the base into a giant crater, which was created by blasting specialists. This forms the foundations of the turbine and it also houses the mechanics to prepare and carry the harnessed power to the grid. The structure is so big that one can see the roundness of the earth in the background and yet, when the turbine is complete, the base will not be seen again. The stark beauty of this slick engineering against the ancient Karoo landscape made me feel as small as an ant. I had to draw it.
When They See Us I
Bongani Tshabalala
Details:
Signed
Digital photograph
30 × 42 cm (framed)
Price:
R3 500 (Edition 1/10)
Description:
Mental health in the black community is the elephant in the room that no one wants to acknowledge or talk about. It is that one thing we allow to become extreme before we start talking about it, and even when we talk about it there is always that taboo associated with it. Over the years society has seen black men as breadwinners, leaders of society, tough, strong and unemotional people. There are many misconcepts and toxic traits that society has used to describe a black man for who they are and who they should be. Many men are unhappy with the way they are depicted in the world and frustrated with old-school ideas of masculinity. "Monna ke nku ha lle" which means a man doesn't cry is a phrase we were raised with to try and tell us that we must suck up our emotions and man up. When They See Us explores how it feels to be a black man living with depression and stigma in a society where a man that cries or shows any sign of vulnerability is regarded as weak.
When They See Us III
Bongani Tshabalala
Details:
Digital photograph
30 × 42 cm (framed)
Price:
R3 500 (Edition 1/10)
Description:
Mental health in the black community is the elephant in the room that no one wants to acknowledge or talk about. It is that one thing we allow to become extreme before we start talking about it, and even when we talk about it there is always that taboo associated with it. Over the years society has seen black men as breadwinners, leaders of society, tough, strong and unemotional people. There are many misconcepts and toxic traits that society has used to describe a black man for who they are and who they should be. Many men are unhappy with the way they are depicted in the world and frustrated with old-school ideas of masculinity. "Monna ke nku ha lle" which means a man doesn't cry is a phrase we were raised with to try and tell us that we must suck up our emotions and man up. When They See Us explores how it feels to be a black man living with depression and stigma in a society where a man that cries or shows any sign of vulnerability is regarded as weak.
Kazimla I, II and III
Kay Fourie
Details:
Not Signed
Charcoal on Schullers
29 x 34 cm each
Price:
R6 000 framed for triptych
Description:
The components for a wind turbine on the wind farm near me is manufactured on the other side of the globe and transported to South Africa by freight ship. From the harbor it is carried on no less than 9 abnormally large trucks, piece by piece. It is then placed carefully on the site near its base. Seen from this angle, it clearly says: Kazimla! Kazimla is a Xhosa word meaning “shine”. There is a strange relationship between landscape and alien components which is unexpectedly peaceful, even happy.
When They See Us II
Bongani Tshabalala
Details:
Digital photograph
30 × 42 cm (framed)
Price:
R3 500 (Edition 1/10)
Description:
Mental health in the black community is the elephant in the room that no one wants to acknowledge or talk about. It is that one thing we allow to become extreme before we start talking about it, and even when we talk about it there is always that taboo associated with it. Over the years society has seen black men as breadwinners, leaders of society, tough, strong and unemotional people. There are many misconcepts and toxic traits that society has used to describe a black man for who they are and who they should be. Many men are unhappy with the way they are depicted in the world and frustrated with old-school ideas of masculinity. "Monna ke nku ha lle" which means a man doesn't cry is a phrase we were raised with to try and tell us that we must suck up our emotions and man up. When They See Us explores how it feels to be a black man living with depression and stigma in a society where a man that cries or shows any sign of vulnerability is regarded as weak.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
Every hero has a villain
Bokang Nkejane
Details:
Signed
Mixed media
122 x 74 cm
Price:
R12 000
Description:
A depiction of Christian mythology: the journey of beginning as an amateur and then becoming an overcomer and eventually a conqueror.
Every hero has a villain
Bokang Nkejane
Details:
Signed
Mixed media
122 x 74 cm
Price:
R12 000
Description:
A depiction of Christian mythology: the journey of beginning as an amateur and then becoming an overcomer and eventually a conqueror.
Lockdown series
Kay Fourie
Details:
Signed
Reduction Lino prints on Rosapina Fabriano
Print size: 20x20 cm, paper size 32 x 35 cm
Price:
R800 each with frame, R600 each for unframed prints
Description:
Each of these Lino prints depicts five different objects: strange abstract objects that are personifications of wind/spirit. Spirit and wind has been intertwined in the human mind for many centuries, because both are equally ‘unseen’. One sees, hears and experiences only the result of its force, not the thing itself.
When the danger of Covid-19 struck South Africa by April 2020, I was working on these strange shapes and sculpted them in paper mache. In the meantime an innocent visitor from Columbia was trapped in the country and on our farm due to lockdown. Watching him scheming to go back and longing for his loved ones and fighting for his sanity inspired me to ‘lock’ these shapes into imaginary enclosed spaces. Hence the Spanish names for each shape: Aire (Lug), Ciclon (Sikloon), Hurucan (Orkaan), Vortice (Vorteks), and Aliento (Asem).
Lockdown series
Kay Fourie
Details:
Signed
Reduction Lino prints on Rosapina Fabriano
Print size: 20x20 cm, paper size 32 x 35 cm
Price:
R800 each with frame, R600 each for unframed prints
Description:
Each of these Lino prints depicts five different objects: strange abstract objects that are personifications of wind/spirit. Spirit and wind has been intertwined in the human mind for many centuries, because both are equally ‘unseen’. One sees, hears and experiences only the result of its force, not the thing itself.
When the danger of Covid-19 struck South Africa by April 2020, I was working on these strange shapes and sculpted them in paper mache. In the meantime an innocent visitor from Columbia was trapped in the country and on our farm due to lockdown. Watching him scheming to go back and longing for his loved ones and fighting for his sanity inspired me to ‘lock’ these shapes into imaginary enclosed spaces. Hence the Spanish names for each shape: Aire (Lug), Ciclon (Sikloon), Hurucan (Orkaan), Vortice (Vorteks), and Aliento (Asem).
Lockdown series
Kay Fourie
Details:
Signed
Reduction Lino prints on Rosapina Fabriano
Print size: 20x20 cm, paper size 32 x 35 cm
Price:
R800 each with frame, R600 each for unframed prints
Description:
Each of these Lino prints depicts five different objects: strange abstract objects that are personifications of wind/spirit. Spirit and wind has been intertwined in the human mind for many centuries, because both are equally ‘unseen’. One sees, hears and experiences only the result of its force, not the thing itself.
When the danger of Covid-19 struck South Africa by April 2020, I was working on these strange shapes and sculpted them in paper mache. In the meantime an innocent visitor from Columbia was trapped in the country and on our farm due to lockdown. Watching him scheming to go back and longing for his loved ones and fighting for his sanity inspired me to ‘lock’ these shapes into imaginary enclosed spaces. Hence the Spanish names for each shape: Aire (Lug), Ciclon (Sikloon), Hurucan (Orkaan), Vortice (Vorteks), and Aliento (Asem).
Who U? (2020)
Miné Kleynhans
Details:
Not Signed
Wood, enamel paint, copper, glass and ball-bearing piece
Price:
R8 750
Description:
The work developed from a recurring notion that an individual’s weekly routines - the habitual amount of energy, time and effort invested in preferred activities - can somehow be traced or transcribed into a characteristic sign or pattern. Functioning much like a kinetic personality test, the viewer can navigate her/his way through the week starting on Sunday, moving the ball through the openings that correlate with preferred activities, signs or signifiers they identify with.
Conversation Piece (2020)
Miné Kleynhans
Details:
Not Signed
Copper pipe and enamel paint
600 x 600 x 600 mm
Price:
R10 000
Description:
Conversation Piece developed from a series of recent works that attempts to translate social interactions into structural forms by means of a set of rules and prescriptions.
The work investigates the social or online ritual where ‘current events’ are digested by means of intellectual sparring sessions. Frequently these discussions are far removed from real life experience, heavily abstracted and intellectualised. Regurgitations of opinions that are disseminated through internet feeds invest in the appearance ‘correctness’ while neglecting the act of feeling for others. The work (or game) is loosely based on competitive board games like Battle Ships. It presents conversation partners with the opportunity to evaluate their counterpart’s statements by inserting a pin into the structure. Attempting to strip the exercise from customary conversational dynamics and the need to seem clever and insightful, participants can only indicate emotional responses. When finished, the shape of the piece is an inventory of sorts, not of ‘content’ or ‘dialogue’ but of things felt.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
The lost bones 2
Neo Theku
Details:
Signed
Digital print on metal (Aluminium)
42 x 59.5 cm
Price:
R8 000 (Edition 1/5)
Description:
A large number of black boys grow up without their fathers leaving them without male role-models. These boy faces tough challenges every day and they do not have a father figure to run to, so they become their own men who cultivate their own bravery to take on the challenges they face.
These "lost" boys increasingly look up to men exhibiting negative behaviour, such as gang members and abusive men, leading to them to showcase the same anger and violence as being the only way they know to solve their problems. Due to poverty and abusive familial situations, they may leave their homes to live on the street, so-doing exposing themselves to dangerous situations where their lives are often dependent on recycling plastic to earn a few cents for their daily bread. They now live in constant survival-mode, where something with as little value as pieces of plastic becomes very valuable to them as they use it as shelter in both hot and cold seasons
Children being breadwinners while living on the street, makes them super-heroes as they go through each day trying to save their own lives. The title "The lost bones" refers to these young men losing both parents to gender-based violence, as well as their homes, their childhood, and all sense of direction to becoming better men.
Tapestry of an Encounter (2020)
Miné Kleynhans
Details:
Not Signed
Balsa wood, enamel paint and nylon thread
310 x 290 x 25 mm
Price:
R5 000
Description:
A real interaction with complex, nuanced and bewildering social codes and signifiers is rendered into a simple representation. Specific colours are allocated to different emotions, social standings or dispositions in play. Aiming for the emotional effect of fear, anger or calm in the opponent, retaliations corresponding to privilege, politically correct or shame vary in strength to either deflect or ‘let through’ a strike. The exercise is comparable to a match analysis of Rock Paper Scissors.
Bathtub Oracle (2020)
Miné Kleynhans
Details:
Not Signed
Wood, porcelain and epoxy clay
8000 x 320 x 60 m
Price:
R6 250
Description:
Toying with a way to devise a deeply personalised rune system, the artist documented, reflected on, and transcribed debris left behind in her bathtub after ablutions. Derived from the practise of tea-leaf reading, each plaque represents a particularly sagacious interpretation.
Kazimla I, II and III
Kay Fourie
Details:
Not Signed
Charcoal on Schullers
29 x 34 cm each
Price:
R6 000 framed for triptych
Description:
The components for a wind turbine on the wind farm near me is manufactured on the other side of the globe and transported to South Africa by freight ship. From the harbor it is carried on no less than 9 abnormally large trucks, piece by piece. It is then placed carefully on the site near its base. Seen from this angle, it clearly says: Kazimla! Kazimla is a Xhosa word meaning “shine”. There is a strange relationship between landscape and alien components which is unexpectedly peaceful, even happy.
Kazimla I, II and III
Kay Fourie
Details:
Not Signed
Charcoal on Schullers
29 x 34 cm each
Price:
R6 000 framed for triptych
Description:
The components for a wind turbine on the wind farm near me is manufactured on the other side of the globe and transported to South Africa by freight ship. From the harbor it is carried on no less than 9 abnormally large trucks, piece by piece. It is then placed carefully on the site near its base. Seen from this angle, it clearly says: Kazimla! Kazimla is a Xhosa word meaning “shine”. There is a strange relationship between landscape and alien components which is unexpectedly peaceful, even happy.
Mmadillo
Neo Theku
Details:
Signed
Digital print on metal (Aluminium)
42 x 59.5 cm
Price:
R8 000 (Edition 1/5)
Description:
This work brings up a question that is being asked every day, but has still not been answered yet. Many women of this country have became voiceless and blind towards the idea of love. As the saying goes, "roses are red" - but so is blood.
Large numbers of single parents are women, with many women still staying in an abusive relationship for the sake of having a man in their home to help raise their child/children. Even though some are victims of gender-based violence on a daily basis, they still seem to fear raising their children alone as single mothers. As a result so many women are crying in silence until their tears run dry and blood ends up seeping from their eyes, but still they see the colour of love as red.
Another element associated with love, is the use of a blindfold to reveal a romantic surprise. Unfortunately these surprises lead to situations that are increasingly taking the lives of our sisters, daughters and mothers who also suffer marital rape, and emotional and physical abuse. Often these experiences are very hard for victims to talk about, especially in cases where the victim is related, in partnership with or married to their perpetrator and their story is hardly taken seriously. As a result victims of gender-based violence often do not report these crimes at all so as to protect their partners, with their silence eventually leading to their death. The portrayal of the the head alone without a body attached to it, symbolises such unfortunate deaths..
Silence cannot be the 12th official language of South Africa. Let us break it.
OoBawo bethu
Neo Theku
Details:
Signed
Digital print on metal (Aluminium)
42 x 59.5 cm
Price:
R8 000 (Edition 1/5)
Description:
The purpose of this work is to challenge the viewer by asking hard questions about the individual's reaction towards violence. In South Africa many women die daily due to gender-based violence. Yet while we want to end the violence, we keep ignoring the root of it.
Expectations directed at men tend to cause harm. Men are often raised by being told not to cry, nor to respond emotionally to physical pain, since it's seen as showing weakness. Pressure on these men increases as their feelings are being ignored, and there is little opportunity for men to talk about or to seek professional help for their depression.
An added downside is that male depression tends to often be expressed through anger and aggression. People living with men with depression, may find themselves feeling fearful of the hidden emotions that build up over time, like a virus that killing them from the inside. The bandage wrapped around his head links to the concept of men's mental health, however unfortunately a toxic mind tends to entertain too many damaging thoughts, as is illustrated by the raging fire that is destroying the bandage that is supposed to keep men mentally healthy.
Because so many men are overburdened with built-up negative emotions inside, it becomes explosive and harmful to the people around them. The red costume is a metaphor for the blood that so many women have shed due to gender-based violence, while the small piece of white shirt that can be seen symbolises the little hope that we are still holding on to that a better future does await our men. What we required, however, is a better system in which our boy children are raised to become mentally healthier and happier men.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
The lost bones 1
Neo Theku
Details:
Signed
Digital print on metal (Aluminium)
42 x 59.5 cm
Price:
R8 000 (Edition 1/5)
Description:
A large number of black boys grow up without their fathers leaving them without male role-models. These boy faces tough challenges every day and they do not have a father figure to run to, so they become their own men who cultivate their own bravery to take on the challenges they face.
These "lost" boys increasingly look up to men exhibiting negative behaviour, such as gang members and abusive men, leading to them to showcase the same anger and violence as being the only way they know to solve their problems. Due to poverty and abusive familial situations, they may leave their homes to live on the street, so-doing exposing themselves to dangerous situations where their lives are often dependent on recycling plastic to earn a few cents for their daily bread. They now live in constant survival-mode, where something with as little value as pieces of plastic becomes very valuable to them as they use it as shelter in both hot and cold seasons.
Children being breadwinners while living on the street, makes them super-heroes as they go through each day trying to save their own lives. The title "The lost bones" refers to these young men losing both parents to gender-based violence, as well as their homes, their childhood, and all sense of direction to becoming better men.
Who U? (2020)
Miné Kleynhans
Details:
Not Signed
Wood, enamel paint, copper, glass and ball-bearing piece
Price:
R8 750
Description:
The work developed from a recurring notion that an individual’s weekly routines - the habitual amount of energy, time and effort invested in preferred activities - can somehow be traced or transcribed into a characteristic sign or pattern. Functioning much like a kinetic personality test, the viewer can navigate her/his way through the week starting on Sunday, moving the ball through the openings that correlate with preferred activities, signs or signifiers they identify with.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
Cauldron of sleeping bats
Kay Fourie
Details:
Signed
Resin, gut, graphite powder
Price:
R850 each, R20 000 for all
Description:
This installation depicts a cauldron of bats in their resting mode: upside down and each wrapped and isolated inside its own wings, almost like people in lockdown. My curiosity about bats started a couple of years back, when I was working on a series of drawings involving wind and wind turbines. An environment fundi, who was doing impact studies for a wind farm, told me that birds die when they fly into the rotating blade of a turbine, but that bats suffer an altogether different fate: they do not have to collide with the blade, they only have to fly near enough to the turbine. Their lungs simply collapse from the vacuum caused by the rotating blades. This tiny piece of information touched me deeply, the mere fact that such a nifty little creature can be so vulnerable to our unstoppable technological progress. Bats have been seen as vermin, bloodsucking vampires and in folklore they are the aides of witches, but the best of all came when the new of Covid-19 broke: the rumour that a bat had caused this decease. In fact we, humankind, are the actual intruders, the colonisers.
When They See Us IV
Bongani Tshabalala
Details:
Digital photograph
30 × 42 cm (framed)
Price:
R3 500 (Edition 1/10)
Description:
Mental health in the black community is the elephant in the room that no one wants to acknowledge or talk about. It is that one thing we allow to become extreme before we start talking about it, and even when we talk about it there is always that taboo associated with it. Over the years society has seen black men as breadwinners, leaders of society, tough, strong and unemotional people. There are many misconcepts and toxic traits that society has used to describe a black man for who they are and who they should be. Many men are unhappy with the way they are depicted in the world and frustrated with old-school ideas of masculinity. "Monna ke nku ha lle" which means a man doesn't cry is a phrase we were raised with to try and tell us that we must suck up our emotions and man up. When They See Us explores how it feels to be a black man living with depression and stigma in a society where a man that cries or shows any sign of vulnerability is regarded as weak.