Word View

Maskerade – Exhibition Review

by Bridget Thompson

Review of ‘Maskerade’ by Lionel Davis, Association of Visual Arts, August 2009.
This text was originally published on Davis’ artist page on asai.co.za, August 2009.

Lionel Davis is for the first time at 70 plus working as a full- time artist.

His life has traversed childhood and youth in District 6, political activism and imprisonment on Robben Island, two years of art training at Rorke’s Drift, many contributions to the social practice of art like running the Community Arts Project silkscreen workshop for 8 years, participating in the annual Thupelo workshops for more than 20 years, formal study at UCT where he gained a BAFA in 1995, back to Robben Island as a tour guide for 10 years and now finally full time artist.

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Picking Up the Strands of Our Heritage

by Garth King

This text was originally published on Davis’ artist page on asai.co.za

Muizenberg artist Lionel Davis, 77, had a special connection with Nelson Mandela — as a fellow political prisoner in the B-Section of Robben Island’s Maximum Security Prison in the 1960s.

Initially, B-Section held about 30 prisoners — including some common-law prisoners — but was later reserved for those in the struggle leadership or those seen as potentially influential among the political prisoners. All were held in single cells but were exercised in the prison yard daily for an hour and often worked together in the yard, breaking stones or in the lime quarry on the island.

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Salt On My Breath

by Deela Khan

Review of ‘Prints in the Artsstrip’ by Randolph Hartzenberg at the AVA Gallery: 14 July – 1 August 2008.
This text was originally published on Hartzenberg’s page on asai.co.za

The exhibition comprises works from Hartzenberg’s Monotype Series “Map of the Neighbourhood” and a selection of Screen Prints from his series “Abbreviations”. The contiguity of the imagery, metaphor and iconography make a powerful statement. They bear testimony to the artist’s concerns with the ‘inner neighbourhood’ that has evolved for more than a decade.

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Resilience and empathy: Sfiso Ka-Mkame at the AVA

by Mario Pissarra

Review of Sfiso Ka-Mkame’s solo exhibition at the AVA, Cape Town, published in Artthrob, 2003
http://artthrob.co.za/03oct/reviews/ava.html

There is an integrity to Ka-Mkame’s engagement with his materials and his subjects. His use of oil pastels is spectacular, the result of years of practice: “we understand each other” he says of this most modest of mediums. His subject matter also demonstrates continuity as he began chronicling the trials and tribulations of women in the eighties. Today this theme is more prominent, and his work is increasingly bold in scale, colour and pattern. He often contrasts naturalistic colour (usually applied to skin tone, land and sky) with a more subjective use of colour best seen in his depiction of female clothing, but also featuring sometimes in the landscape as with the intensely emotive red sky in “Sorrow Swallow Me”

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Affirmations of humanity: Sfiso Ka-Mkame’s dialogues with himself

by Mario Pissarra

Unpublished text for opening speech at opening of Sfiso Ka-Mkame’s ‘Dialogues with myself’ solo exhibition at the African Art Centre, Durban, 2016. It was originally published on Ka-Mkame’s page on asai.co.za in 2016.

I wish to thank the artist and the African Art Centre for inviting me to open this exhibition. I am indeed honoured to have this opportunity to share some thoughts about Sfiso ka-Mkame, an artist who I hold in high esteem.

I first became aware of Sfiso in the late 1980s. His ‘Letters to God’ was one of the most widely published artworks in that period, and I came to learn that it was not a work that was produced in isolation. Rather, it was part of a series of “letters”. Formally, these works consisted of semi-autonomous images, combined to form a dense composition. Notably, when many works from this period were large and imposing, Sfiso’s Letters were intimate works, modest in scale and requiring you to look at them closely. The series was also remarkable for having been produced with oil pastels, a medium. usually associated with preparatory rather than finished works. Thematically, the work of this period related directly to what was happening in the artist’s environment, noting that this was a time of mass resistance to apartheid.

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Sfiso Ka-Mkame: Charting his own course

by Mario Pissarra

This profile was originally commissioned by the Africa Centre (London) for their Contemporary Africa Database (www.africaexpert.org, no longer online), published in 2003. It was reprinted by the African Art Centre, Durban, for a catalogue produced for the exhibition Sfiso Ka-Mkame: Exhibition of oil pastels 13 to 30 October 2004, and first appeared on asai.co.za on Ka-Mkame’s artist page.

Sfiso Ka-Mkame first received national and international recognition as an artist in the late 80s when he produced a series of “letters”. These took the form of full colour drawings that were themselves made up of different scenes, arranged in quasi-comic book format. However unlike comics these images did not suggest any sequential narrative. Rather each component told its own ‘story’, united by an overall theme. “Letters to God” (1988), which was bought by the South African National Gallery and appeared in several publications is probably the best known of these early works.

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Quiet Provocations: Thoughts on two works by Randolph Hartzenberg

by Mario Pissarra

This text was originally published on Hartzenberg’s page on asai.co.za in October 2014

Randolph Hartzenberg has worked most of his professional life as an educator. For several years, he taught art at Alexander Sinton High School in Athlone and later lectured in design at the Cape Peninsula University of Technology. Alongside his work as an educator, Hartzenberg has produced a rich body of artworks. He first attracted attention for his work as a painter, notably Domestic Baggage (1994), and later received some attention for his printmaking (Map of the Neighbourhood (1996)). In more recent years, there has been increased interest in his performances and installations. For the latter, there is typically a strong sculptural element, although these pieces tend to be categorised as installations because most make use of found materials and are produced for specific locale, usually in response to invitations from curators.

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The aesthetics of feelings: a conversation with Zamani Makhanya

by Rachel Matteau Matsha

Zamani Makanya’s studio tells the story of a man and artist whose humble presence shines through the space. Bright oil pastel off-cuts cover the floor, a small transistor radio broadcasts a soccer match, smoke nonchalantly rises from an ashtray, and a discarded whiskey bottle is reinvented as a candleholder. The white walls are much more than walls. They are permanent easels, where colourful artworks are simultaneously in progress, as if engaged in a complex yet joyful symphony under the guidance of a masterful conductor. If these walls could talk, they would tell the story of a hard-working artist creating art to beautify the world around him.

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Forging an African path, the art of Zamani Romeo Makhanya

by Carol Bown

Zamani Romeo Makhanya was born in Lamontville, KwaZulu-Natal, in 1959. He is one of a group of progressive Durban artists who forged a path towards the future despite the ongoing political and social constraints facing a generation of black artists who were coming to maturity during the turbulent years following the Soweto Uprising of 1976.

A direct influence on Zamani’s life is that, due to the dormitories at his school (Amanzimtoti College 1974-6) being burned down as a result of the Uprising, his studies were interrupted and he had to move from school to school (Ohlange High 1977 and Kwa Dlangezwa 1978 ). He commenced tertiary education at Fort Hare (1979-1984) where he received his Honours in Fine Art and his Higher Education Diploma (1985).

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Paul Sibisi and the art of protest

by Brenton Maart

I

Paul Sibisi was born in 1948 and thus, in his first year of life, came into a family and community at the very cusp of insanity, pivoting violently between a colonial history and an institutionalized apartheid reality, legislated and enforced. Reactions reverberated across the country like dynamite dominoes, and thus the artist’s birth year was proximal, personal, direct, immediate; one experiential component of a country under attack.

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