Sat 22 – Sun 23 September 2018
10 am – 5pm
CELEBRATING 10 YEARS OF THE BAARDSKEERDERSBOS ART ROUTE
Offering a once-off set of gift cards to celebrate our 10th Birthday
Ask any of the principal artists for a set of the above cards
List of Artists and Guest Artists:
IVAN TROLLIP (no. 5) Painting, Prints
YANTHA HOFFMAN Glass Art
LIZ VAN DEN BERG (no. 7) Painting, Japanese Fish Prints (Gyotaku)
HANNALIE TAUTE Embroidery on rubber sculptures and sketches
JOSHUA MILES (no. 9) Woodcut Mono Prints + Reduction Woodcut Prints
NOTE: Joshua will be exhibiting at the B’bos Gallery (no 5)
NIËL JONKER (no. 11) Landscape Painting, Bronze
LEDELLE MOE Sculpture and Drawings
KALI VAN DER MERWE (no. 13) Kali is not exhibiting at this Art Route as she is on a Quest in Namibia…
AMANDA JEPHSON (no. 14) Amanda is also not exhibiting this time around…
BRENDA PARKER (no.16) Jewellery
BELINDA BLIGNAUT Experimental Clay Sculpture
SONJA KASTNER Ceramic Artist
PHILIP JOHN (no.18) Sculpture, Drawing
JAN VINGERHOETS (no.19) Functional Art
YVONNE DE WIT Jewellery
Meet our guest artists for the September 22 – 23 2018 Art Route
The Baardskeerdersbos Art Route exhibits guest artists along with the core group of artists who live in the area. This enriches the experience, adding diversity and variety. We have and continue to host established artists of a professional and accomplished calibre as well as artists who are just starting out or returning to their creativity and exercising their exhibition wings.
come explore …
Hannalie Taute at No 7
In 2004 the artist presented a first solo exhibition, “Siembamba – Let’s play pretend” at Joao Ferreira gallery, Cape Town.
More recently she participated in a group exhibition, “Unfolding fiber” at the Pretoria Art Museum” in 2018.
Taute was under the top 100 finalists in the 2004 ABSA l’Atelier, and has had work nominated 3 times for the KykNet Fiesta award: In 2012 for “Skeidingsangs”, in 2015 for “Rubber ever after” and in 2017 for “Stink Afrikaners”. In the addition the artist received a Kanna –award for the solo exhibition “Rubber ever After at the Klein Karoo National Arts Festival 2014.
Works are housed in numerous private collections, and also in the collection of UNISA.
More recently selected works represented South Africa at the Textile Biennial, Rijswijk Museum, The Netherlands 2017.
“For more than a decade I primarily focused my attention on working with found objects, especially toys. Seven years ago I tried my hand at working with rubber, particularly inner tubes, and in 2012 added embroidery. Later I started to add vintage photographs and pages from old books to my repertoire. I altered these photographs and pages by attaching embroidered rubber to them. By using traditional embroidery techniques unto the unconventional canvas of rubber, and altering found objects, pages from books and vintage photographs, I aim to transform the familiar into the unfamiliar. I find my practice by subverting the original meaning, and also by replacing the main characters with myself, or my family members.
I use art to escape into a fantasy world of my own making, and my work is the culmination of research into emotions, psychology and fantasy within that world. I find inspiration in myths, legends, lyrics, literature and especially fairy tales. I am drawn to the universality of these ancient stories which exist all over the world and points to a common humanity, and it is often just the title of an original fairy tale or a character’s name from myths and legends that remains, in my work.”
Hannalie is the guest of Liz van den Berg
Ledelle Moe at No 11
“Most recently I have been exploring notions of monumentality and the human form through a series of sculpted figures. Created with a process that begins with the digging and gathering of soil from various locales and progresses in the studio through such actions as welding, casting, modeling, and carving, I create these figures in order to open up narratives that speak through both image and materiality.
At the core of these works are reflections on place. Over the past year I had been travelling to various countries including Dhrangadhra in India, Gaborone in Botswana, and Durban, Cape Town, and the Karoo, in South Africa. In each location I gathered sand and dirt and embedded this sampling of earth into cement carvings of small birds and figures. Experiencing the particular terrain of each site and creating work on that site was a way for me to engage intimately and physically with the very stuff of a place. In digging into the soil and quite literally using it as raw material in making my cement forms I was able to reflect on landscape as ground and to literally draw from it. Perhaps this was rooted in some longing to better understand how political and personal histories are inherent in the ever-present awareness of place. Or how ground, land, soil, and earth reference a sense of belonging. Perhaps the very act of taking dirt and including it in these works was a momentary act of appropriation of the land and soil, for by including it in the work I take it, I replace it. This small gesture for me, spoke to a larger issue of land as identity. I was also conscious that in journeying to locales both familiar and unfamiliar the works that I created were a very direct response to my tactile experiences of that site. For each work I used the local aggregate from that place in an attempt to ‘mark’ or reflect on that place and its history.
My most recent work-Traces and Transition/Displacements and Land/Displacements- are large weighty recumbent forms that for me reference both massive funerary statue and a memorial. This work belongs to no specific place but is one that can be moved from site to site, displaced. The sculptures have weight and allude to solidity and structure, yet are inherently modular and transient. In some of the work, carvings of birds swarm over, blanket, flow or swirl and partially obscure the body. During the process of creating each carving, I reflected upon the movement of those creatures as driven by some unseen collective intelligence. Yet the repetitive act of carving each sculpture in various locations gave voice to the act of being in a place while considering the collective migratory patterns of creatures- of flocks, swarms and pods. Also in play are what have been recurring themes in my work. These are issues of permanence and impermanence, location and dislocation, and place and displacement.”
Ledelle is the guest artist of Niel Jonker
Yantha Hoffman at No 5
“It’s all about the light!
The light on and through glass has always inspired me. Enough for me to make it my full-time love. I love capturing light and seeing it refract through glass to make intergalactic magic in the form of rainbows.”
Yantha is the guest artist of Ivan Trollip
Belinda Blignaut at No 16
Emerging in the early 1990s, Belinda Blignaut (b.1968) was one of the group of young Johannesburg-based conceptual and experimental artists whose work served as a commentary on the social and political uncertainty of South Africa, often in challenging or, at the very least, critical terms. Belinda Blignaut’s work suggests an urgency for protest and change.
Through varied series over decades, she has been processing issues around transformation, with the body at the centre of all. Through an engagement with readily available and everyday materials, processing immediate surroundings, she hopes to translate the ways we adapt, a quiet visceral investigation into life and the creative process.
Surfacing in all she does is an exploration into a more fluid world, to actively resist the effects of institutionalized culture. Her recent work takes her interest in materiality as a metaphor for psychological transformation into a new series of sculptural clay vessels. There are purely intuitive hand-built shapes, often cut and joined, setting out to make ‘an other’ whole. Through these intuitive choices and tactile joining processes, intimacy with the material is experienced. In looking to create from a deeper source, Blignaut began digging her own wild clay from the earth, finding what she was looking for in Baardskeerdersbos, using it unprocessed to allow for chance, unknowns and the natural reactions between raw materials and minerals forged from the same source. She uses plant ash as glaze, combing and translating psychologies of people and place in each piece. She seeks complex surfaces, unpredictable texture and ‘error’. Sometimes these unknowns alter the surface through small explosions, melting or breaking, celebrating imperfection through various transmutations in this honest and raw terrain.
Taking her interest in the relationship we form with clay out into the lives of others, she began facilitating expression for all through classes from her studio. She has registered a non profit organisation and works with people who have special needs, facilitating expression and documenting research with her team of psychologists. From these processes arose a series of forms called “Working From The Inside” and “Fire From The Inside”. In “Working From The Inside” the artist works from the inside of her large scale vessels as she builds them, shaping the clay as it shapes her, both continually pushed and pulled to limits. In “Fire From The Inside” she sculpts around a work as it’s being fired.
These intense and immersive experiences are somewhere been wrestling and allowing the object to find its own personality, working from the inside and outside simultaneously. A lot like dancing (in a mosh pit), a lot like life.
Antibody, her first solo show, was held at Everard Read Contemporary in 1993. Subsequently, she exhibited at the 1994 Sao Paulo and 1995 Africus Johannesburg Biennales. After an hiatus of over a decade, Blignaut returned to the art world in 2009 and participated in a few local projects as well as two important international exhibitions, No Government No Cry (2011) and Newtopia: The State of Human Rights (2012). In 2010 the installation Stealing the Words slowly inhabited the Young Blackman space during the days leading up to the opening. In 2012 she curated the group show, A Shot To The Arse, at the Michaelis Galleries, Cape Town. It examined what counter culture is to us, as artists. Twenty years after her first, blank projects, Cape Town, hosted BLOWN, her second solo. She has recently shown in many group exhibitions including CLAY/GROUND 2016/2017 at Cavalli Estate, curated by Roelof Van Wyk. In 2017 she had three works on ‘Booknesses’ at UJ Art Gallery and in April 2017 she performed, with Jacques van Zyl on audio and Chris Morgan Wilson on technical assistance, “Working From The Inside” at Edge Of Wrong, Festival of Dangerous and Experimental Music with Jacques van Zyl playing live audio. In March 2018 she had a solo exhibition, ‘THROWN’ at Blank Projects in Cape Town, and in August 2018 performed “Working From The Inside”, with van Zyl constructing sound live, at Zeitz MOCAA, Silos District, V&A Waterfront, Cape Town. Blignaut will next be doing the performance in Norway in 2019.
Belinda is a guest artist of Brenda Parker
Sonja Kastner at No 16
Ceramic artist Sonja Kastner was born in Namibia where, growing up on a narrow strip of land between the desert and the ocean, she was always fascinated by the seemingly monotonous yet ever changing textures, patterns and colours of the landscape. This inspired her to pursue a career which would involve art and design.
After completing her diploma in Textile Design at the Ruth Prowse School of Art, she worked as designer and range coordinator for a large fabric mill in Cape Town for 15 years. During this time she also developed a passion for clay and attended various courses and workshops to learn more about this medium and was given the opportunity to exhibit locally as well as internationally in group exhibitions.
In 1996 Sonja decided to pursue her passion for clay and ceramics on a full time basis. From her studio in Hout Bay, she started designing and producing a range of crockery, available from select shops throughout South Africa. She also started giving workshops on surface decoration and design on bisqueware.
Moving her life and her studio to the delightful village of Pringle Bay in 2015, Sonja is currently exploring the process of photo lithographic printing, whereby photocopied images and drawings can be transferred onto clay, based on the repulsion of water and grease. This allows her to combine her love of design and colour to produce one-off quirky works, always with hidden messages about the things that inspire her, be it observations about everyday life, human triumphs and failures, nature, plants and the environment.
Sonja is a guest artist of Brenda Parker
Yvonne de Wit at No 19
Yvonne de Wit studied Fine Art in The Netherlands. In 2000 she moved to South Africa where she grew and studied succulent plants, establishing a well known succulent garden in Robertson.
Fascinated by the multitude of soil and rock colours she realised the importance of our connection with (and dependence on) earth.
In 2011 Yvonne and her husband, fine art photographer, Herman van Bon, sold their farm taking her collection of stones and soil samples with her to Stanford. Here she began to design and create jewellery from her soil samples combining them with sterling silver, brass and copper.
In 2016 Yvonne moved Napier where she and her husband have their studios and run Private Gallery Napier at 98 Sarel Cilliers Street.
Yvonne de Wit is the guest artist of Jan Vingerhoets
Special Events 22 – 23 September
This time around there are a number of food options at various artists. Watch this space for updates.
EAT CREATIVE @LOKAL (H on the map)
LOKAL is an Occasional Dining Restaurant Experience in Baardskeerdersbos run by Lainy and Stanley Carpenter, where, mostly once a month, chef Suzi Holtzhausen works her magic in the kitchen. During the September 2018 Art Route, Suzi will create a magnificent 4 course menu, inspired by creative works from the Baardskeerdersbos artists.
The actual artworks will be for sale and displayed at the venue. This will be your chance to feast your senses and literally … taste art.!
There will be 3 menu sittings over the weekend:
Saturday 22 September 2018 12h00
Sunday 23 September 2018 12h30
Monday 24 September 2018 12h30
Pre-booking is essential as numbers are limited: firstname.lastname@example.org / Call Lainy 082 909 0512
LOKAL sources produce from the local oceans, fields and gardens. The Occasional Dining Restaurant pops up on Art Route weekends as well as other dates throughout the year. Follow us on Facebook for future updates.