Between 10 and 5 The South African creative showcase Tue, 04 Aug 2015 12:55:42 +0000 en-US hourly 1 Myths Recreated | Illustrating African Folklore Tue, 04 Aug 2015 12:52:28 +0000

Inspired by a deep appreciation for African folklore, Art of Brother curated a group exhibition centred on two stories relevant to our modern age.

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Myths Recreated

Window display by Art of Brother


Myths reflect the beliefs and values held by society. Inspired by a deep appreciation for African folklore, Art of Brother (Karabo Makenna and Cobus Engelbrecht) co-ordinated a group exhibition centred on two stories which they feel are relevant to our modern age.


Karabo and Cobus met at CPUT and became friends when they learnt about their shared love for skateboarding. This friendship soon led to creative collaborations and the formation of Art of Brother, which now acts as a platform for the various art and design projects they embark on. “Our aim at the moment,” they say, “is to promote ourselves as well as a well-known design and art collective by taking on clients and coceptualizing many more creative projects.” They’re also keen to find more ways of using art and design to help other creatives promote themselves, and they’ve made a good start with Myths Recreated, a five-day-only group show from 31 July – 5 August at Worldart Gallery in Cape Town.


The exhibition features works by Karabo and Cobus as well as five other local artists: Fuzzy Slippers, Nolan Dennis, Thandiwe Tshabalala, Darren Christian and Russell Abrahams. By bringing together talented local artists with widely varied styles, Myths Recreated is an attempt to foster a renewed appreciation for myths and legends in our everyday lives. “South Africa has so many different cultures and backgrounds, and we feel that by telling our stories and listening, we can bring people closer together,” the duo explains. “Storytelling is a great way to understand and interpret each other’s heritage to find a middle ground and to realise that we’re not that different from one another.”


Myths Recreated 1



Each participating artist interpreted the following two stories. See the artworks below.


Selekana and the River God:


There was once a kind and charitable girl. She lived a selfless life and was rewarded for this by the ones she offered her time and generosity to. Others grew envious as they wanted her rewards but without actually putting in the work. The envious stirred up a plot to take away her rewards that she worked so hard for. She was left with nothing after she sacrificed all her gifts in good faith, faced with having to look inside herself to find a reason to continue being good and helpful, even after envy took all she had. To regain her rewards she had to give her all. This she did and she was rewarded with all she had lost and more. The envious then tried to obtain what she had but did not want to make sacrifices, until the envy inside them took all they had and more.


Kweku Ananse:


A long time ago there were two friends, with a bond closer than that of brothers. They were inseparable, a symbiotic existence, until one day they came upon a great opportunity. One was greedy and went for swift rewards in the form of instant gratification, and this caused a rift between them because the other friend used the opportunity to invest and reap the rewards later. When his friend crawled back he refused to share with him, so greed got the better of the hasty friend.


Cobus Engelbrecht (2)

Karabo Makenna

Cobus Engelbrecht

Cobus Engelbrecht

Russell Abrahams

Russell Abrahams

Nolan Dennis (1)

Nolan Dennis

Nolan Dennis (2)

Nolan Dennis

Darren Christian

Darren Christian

Karabo Makenna (1)

Karabo Makenna

Karabo Makenna (2)

Cobus Engelbrecht

Fuzzy Slipperz

Fuzzy Slipperz

Thandiwe Tshabalala

Thandiwe Tshabalala

Myths Recreated (4)

Art of Brother


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Finding Solace in Skating | A Short Film about Peter Tue, 04 Aug 2015 11:49:50 +0000

Produced by Ginkgo Agency, 'The Skater' is a film about a homeless boy named Peter who finds solace in skating.

The post Finding Solace in Skating | A Short Film about Peter appeared first on Between 10 and 5.



‘The Skater is a short film produced by Ginkgo Agency about Peter, a 17 year old boy from Cape Town who is in a situation that far too many young people in South Africa are faced with: homelessness. He lives under a bridge with his family and he spends most of his days begging for food and money. However, Peter finds an escape at the Salesian Institute in Greenpoint. Here a skate park has been created by skate-aid; an NGO that supports kids in unsettled areas by bringing skateboarding to their communities as a way to give young people a safe space to get rid of frustrations and boredom.


A collaboration of photographers, filmmakers, writers, editors and producers; Ginkgo Agency is a content company that tells positive narratives with the aim of contributing to a sense of global community. The purpose of ‘The Skater’ is to assist skate-aid by highlighting their cause and to encourage the donation of clothes and skateboards so that they can continue to offer these opportunities to the homeless youth of Cape Town. Visit skate-aid to find out how you can contribute to this initiative.



Produced by: Ginkgo Agency
Creative Director: Andy Ellis
Director, Camera, Sound: Hafeez Floris
Video Editor: Benjamin Haskins
Online Video Editor: Leon Visser


The Skater - Gingko Agency (1)

The Skater - Gingko Agency (2)

The Skater - Gingko Agency (3)

The Skater - Gingko Agency (4)


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Featured: Emily Harriet Bulbring Robertson | Reimagining the Role of Women Tue, 04 Aug 2015 10:24:52 +0000

Emily Harriet Bulbring Robertson is a painter, who loves giving people what they want but never in the way they expect.

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Emily Harriet Bulbring Robertson

‘The Madonna and her Favourite Child’, 2014, mixed media on canvas.


Emily Harriet Bulbring Robertson is a painter, who uses paintbrushes to stir tea when she can’t find spoons. She loves giving people what they want but never in the way they expect and pursued art as a contingency plan after realising she no longer wished to be a crocodile wrestler. Her meticulous pieces reference pop culture phenomena alongside ancient religious icons and interrogate the daily roles women are expected to play.  She’s young and funny and even though fear is the driving impulse behind her amusing creations, she’s not scared of currently pursuing her Masters at the Michaelis School of Fine Art or asking us to re-imagine a history where Joseph may have been better at making school lunches.


Did you have a creative upbringing?


I didn’t do art in school until grade 10, I did French. My grandmother was the one who really nurtured my creativity and bought me books to write stories in and taught me how to collage. That being said, my parents did hang prints of Monet’s water lilies over my crib as an infant. I think they had read somewhere that early exposure to colours, texture and fine art would inspire creativity. I bet there are some regrets there.


As a young artist, in the early stages of your career, what have you found most challenging?


Learning how to “art”. I think making art is easy enough. The harder part is trying to wedge yourself into the close-knit artistic community. I am possibly the most useless at networking and making a lasting impression. I’ve made a deal with one of my friends, also a recent Michaelis graduate, to try to become real artists, who aren’t too afraid to be the first to take a glass or two of the free wine at gallery openings.


Stylistically, which artists have been particularly inspirational to you?


You may think I am joking but Monet. I have always considered myself a painter in spite of the fact that I never use paintbrushes.  I see painting as the use of tiny things (in my case pictures and sad bits of stuffed toy fur) to make up big things (sunrises, giant fluffy birthing vaginas or scary depictions of the virgin Mary). I don’t think I ever quite recovered from my infantile encounter with art and it probably didn’t help that the first real exhibit I saw was the Impressionist section in the Musée d’Orsay. I also quite enjoy the “joke” in saying I am a painter, who doesn’t use paint. Every year my father asks when I am going to paint again (he is the Impressionist lover in our family) and I always answer, filled with rebellion and the sick satisfaction that comes with giving someone exactly what they asked for but not how they expected it, that I already am.


Emily Harriet Bulbring Robertson

‘Mary, Mary, Quite Contrary (Mary enters her 6th breakdancing competition)’, 2014, digital collage on semi-matte photographic paper, 30 x 50cm.

Emily Harriet Bulbring Robertson

‘Mary, Mary Quite Contrary (Mary marries her 10th couple)’, 2014, digital collage on semi-matte photographic paper, 44 x 27cm.


Mary, Mary, Quite Contrary, is a recurring figure in your collages. Why have you centered the series around this female icon?


For this body of work I was considering the societally accepted roles of women and how often when women choose to take on these roles, all other accomplishments and interests they had had in their lives are forgotten. They are labelled and seen solely as ‘mother’ or ‘wife’.  I took interest in the Virgin Mary as she was the most famous woman of my upbringing. I went to a Marist catholic school, which for the layman means, we love Mary. The only thing dear old Maria is known for are two attributes: her virginity and for being Christ’s mother. She could have been a pioneer in all manner of fields. She may have been an excellent hip-hop dancer or had a gift for healing. She may even have made a mean beef Stroganoff or been able to fit 82 pitas in her mouth. But nothing to this effect has ever been recorded. It would appear that nothing beyond a woman’s skill in all things related to stereotypical gender roles or female archetypes matter.


The only thing I know about this woman is that she was a virgin, wife and a mom. Which is cool, I guess, but I am certain she was, as most virgins, wives and mothers are, more and thus I created scenarios where she was and had accomplishments other than those associated with societal ideals of what a woman should be. In my collages Mary always has the face of my own mother, I do this in acknowledgement and gratitude for the sacrifices she made to have me.


Emily Harriet Bulbring Robertson

‘Mary, Mary, Quite Contrary (Mary’s 4ft cucumber wins a prize at the annual garden show)’, 2014, digital collage on semi-matte photographic paper, 28 x 52cm. 


 Your collages are meticulous and detailed. How much forethought takes place before their creation or is the process more fluid and spontaneous?


I tend to start them with a singular idea that amuses me and then I research every single useless bit of information on it. Eventually I formulate an idea of what I would like the work to look like and then I play. I collect images or hunt through my database (whenever I see something that makes be giggle I cut it out and save it). At this point one can imagine how bored with the collages I would have become and so while making them, to keep me awake, I collage jokes into the works; animals in disguises in the South Pole, fake plants in a garden show, all of the signs of the zodiac, tons of booze and drugs, outraged professional chefs, fast food in a Michelin star restaurant, altar bread and dips for snacks, a snowman and hundreds of movie and popular culture references. I know the majority of people will never get all of the jokes, in fact every time I look at one of the collages I rediscover some little tit-bit I thought was a hilarious at the time. I think that may be the reason why people like them.


Emily Harriet Bulbring Robertson

‘Mary, Mary, Quite Contrary (Mary is the 3rd woman to walk unaccompanied to the South Pole)’, 2014, digital collage on semi-matte photographic paper, 28 x 43cm.


The work interrogates the roles women play in society. In your experience, do you think there are different expectations placed on the role of male and female artists and the subject matter they explore?


This is a tough question, not because I don’t have an opinion on it but rather because I know I have been so well bred and groomed to be a part of our patriarchal society that I don’t really know how to answer it. What I do know and what I have seen is how many young black artists are pushed and herded into making art about their identity and race, even if it is not their cup of tea, because it’s more interesting etc. I believe female artists have been similarly limited and herded into certain subject matter but then again I don’t ever recall being hinted at or told what to do. I think we (women) are programmed our entire lives to be polite and spill as few bodily fluids as possible and the same principles are extended and expected of our art making. Men seem to be trained, on the other hand, to think its ok to ejaculate on everything. Fun.


Have I been brainwashed? Probably. Do people want me to make work about birthing vaginas? I don’t know, I’ve been brainwashed. Do people want women to paint babies and kitchen scenes? I don’t know. Do we have to/ do they want us to make emotional abject messy work? I don’t think so or maybe they do, it’s a conspiracy. I don’t really think “female art” is or has ever been particularly sexy to the big guy upstairs (who is the big guy upstairs in the art world?!).


At the end of the day, what I’ve experienced as a “young female artist”, and I think it is worth noting, is that 5/6 of art school graduates are women (I just guestimated that from my graduating class). At the beginning of first year they tell you that only one of the class of 64 will become an established artist or some other nonsense to that effect. Basic maths tells us it’s probably going to be a chick…Well? We live in a broken society. Our art world is also broken. It doesn’t seem to be getting much better for anyone. And let’s be honest who really wants to look at slimy vagina art all day? I’m being snide, I like vaginas. Anyone want to buy a giant fluffy one??


Emily Harriet Bulbring Robertson

Mary, Mary, Quite Contrary (Mary has her 2nd book launch)’, 2014, digital collage in semi-matte photographic paper, 30 x 42cm. 


The title of this body of work, “What if Joseph were better at creating sandwiches?”, alludes to competition. Within the context of your collage series, what fascinates you about ambition and accolades?


It’s not the ambition and accolades I’m interested in, I am fascinated by the untold stories. What if Joseph was actually better at making school lunches for baby Jesus? What if Mary was the better carpenter? What if she sucked at the whole maternal thing? People and women in particular are limited by gender roles and stereotypes.


A woman can be more than a bride and mother and just because she has chosen to adopt those roles it should not limit her entire existence or how she is seen to within the parameters of the label. I can spew example after example of how professional women are asked “How they do it all?” (because women can’t have families and jobs?) and  how other women are guilted by their communities because they don’t have time to make gourmet lunch boxes and attend netball matches. Do dads get the same? I must sound like a broken record by now but how do we as a society still not see the injustice and idiocy in putting people into singular boxes and categorising, labelling and treating them as if we aren’t all horribly complex, messy, chaotic creatures.


Emily Harriet Bulbring Robertson

‘Mary, Mary, Quite Contrary (Mary is the 7th female chef to have her restaurant awarded 3 Michelin stars)’, 2014, semi-matte photographic paper, 30 x 45cm.


How does fear inform your art?


I make the art I make because I am so afraid that I will lose what makes me who I am to my own “womanliness”. I started this project because of a story my mom told me about a lunch she had been to with a friend of hers that she hadn’t seen since university. Despite the fact that my mum was a top journalist, has had 6 books published and had just won a literature prize the only thing her friend asked her about was her husband and kids.


The idea of being reduced to only one dimension of myself and being enslaved to that role terrifies me. I have all the symptoms of the disease, I have a vagina, I am brilliant with kids, I am a fabulous cook, and I can sew and knit. Any day now I could no longer be considered as “young artist” and will rather be known and seen as only “MOM”.


I work with my fears and play with them to understand them fully. I have tried to turn the horrific into something colourful and amusing. In the hope that if I poke fun at my fears and toy with them enough I will finally have enough courage to confront them. Perhaps when I finally look under my bed or behind my cupboard door, I will find nothing that scares me.


Emily Harriet Bulbring Robertson

‘Mary, Mary Quite Contrary (Mary’s Custom Made Suit Shop is recommended as 8th best place in town to purchase lady’s suit)’, 2014, digital collage on semi-matte photographic paper, 30 x 42cm. 


How important is the role of humour in your work?


VERY! Not only does humour help me remain interested in making the work but when dealing with such serious, almost hopeless, subject matter you have to be able to laugh about it or at least try to.


The usage of objects like teddy bears has connotations of comfort, yet in Child’s Play (Origin of the World) they seem like an overwhelming avalanche. What prompted you to create this work?


I wish I could insert a screen shot of my Facebook wall here. I was 21 when I made the work. 3 years out of high school, only one of the youngest in my class by a few months and yet my Facebook wall was, and still is, polluted by girls I matriculated with and younger announcing  baby bumps and showing off engagement rings. Every time I see one of these announcements I almost weep. Sure, babies and weddings are great but these girls don’t have a clue what they are signing up for. Do they even know what an episiotomy is?? These women haven’t yet had a chance to know themselves and then at the tender age of fucking 16 they will be branded WIFE and MOTHER and will never ever be able to be seen as anything other. That is the society we live in. The horror of Child’s Play is the atrocities I see every day happening to the women I grew up with.


Child's Play

‘Child’s Play (The Origin of the World)’, 2014, stuffed toys on wire mesh and canvas.

Child's Play

‘Child’s Play (The Origin of the World)’, 2014, stuffed toys on wire mesh and canvas.


You graduated from Michaelis last year and Child’s Play (The Origin of the World) has already been exhibited at AVA’s Best of 2015 show in February. Where to from here?


Next year I might try to be the first woman on the moon. Until then I might attempt doing what I tell everyone I am doing, which is working on my Masters in Fine Art at Michaelis. I don’t think we’re supposed to divulge what we’re working on so I’ll just hint. As you know by now, I am a bit afraid of being trapped into “female” gender roles and stereotypes and I am, finally, tired of being afraid.


When I am done with the Masters, I might try for a PHD (if any institution will have me) not for any other reason than to be able to rub it in my parents’ faces and tell them that 10 year old me wasn’t lying when she said she wanted to be a doctor. I try always to give people exactly what they want but never in the way they expect it.


Emily Harriet Bulbring Robertson

‘Mommy’s Little Angels’, 2014, found and altered stuffed toys.

Emily Harriet Bulbring Robertson

‘Mommy’s Little Angels’, 2014, found and altered stuffed toys.

Emily Harriet Bulbring Robertson

‘Mommy’s Little Angels’, 2014, found and altered stuffed toys.


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Featured: Rodan Kane Hart | Urban Experiences and Secret Histories Tue, 04 Aug 2015 09:53:33 +0000

The sculptures of Rodan Kane Hart are refined, structural, almost futuristic. And although they're always well thought-out, they feel as though they've been playfully constructed...bent into (or out of) shape.

The post Featured: Rodan Kane Hart | Urban Experiences and Secret Histories appeared first on Between 10 and 5.


Rodan Kane Hart Distorted Triangulation. 2015

Distorted Triangulation (2015)


The sculptures of Rodan Kane Hart are refined, structural, almost futuristic – especially when viewed in the context of a natural environment. And although they’re always well thought-out, they feel as though they’ve been playfully constructed – bent into (or out of) shape by an artist making line drawings out of steel, copper and brass. Predominantly known for his sculptural pieces, Rodan’s body of work is a multidisciplinary one spanning photography, video, drawing and performance – an approach based on his belief that the intention of an artwork should be supported by the chosen artistic medium.


Recently Rodan has delved into the world of design with his venture HARTDESIGN. Over the past few months he has been experimenting with a modular furniture system that doesn’t rely on screws or welding, but instead creates a frame of that can be filled and fitted with a diverse range of material surfaces. A few of these pieces will be on show from 6 – 10 August as part of the 100% Talent showcase we’ve curated in collaboration with 100% Design South Africa. Ahead of the event we chatted to Rodan about his artistic roots, the role of architecture and the city in shaping his aesthetic and his upcoming short film.


Were you always aware that you wanted to pursue a career in the creative/arts sphere, or was there quite a journey to discovering this?


From on early age I was exposed to art, architecture and music. I had positive creative influence from my family and their networks of Johannesburg friends of the 90s. I always looked at the world through a creative lens and began drawing and taking photographs from as far back as I can remember. For high school I attended the National School of the Arts in Braamfontien, Johannesburg. This experience and rigger definitely set the tone for my interest in pursuing further Fine Art studies at the Wits School of Arts and subsequently Michalis Art School in Cape Town. By 2011 and nearly 10 years of focused art training, a professional career in the arts was not only logical, but something that I was and still am very passionate about.


Rodan Kane Hart Emerging Illusionistic Bend. 2013

Emerging Illusionistic Bend (2013)


How do you approach the art-making process?


There are a number of factors that influence my process, especially time and context. Many of my works are based around urban experiences and histories, both actual and perceived, and when making new works I consider the conceptual foundation and meaning of art vitally important. I will often begin with subject research, then intensive drawing and maquette making, and from that stage I will commence on planning and costing for fabrication. As sculpture is rather costly and often takes up a large amount of space, I mainly produce works for exhibitions or commissions.


Your sculptures interact beautifully with both the natural and urban environments. Is this something you deliberately consider when creating them?


As mentioned in the pervious question, context and concept are inextricably linked and when I consider new works their inevitable display is often a factor that directly dictates their meaning, aesthetic and physicality.


Rodan Kane Hart Absolute Reflection. Collaboration with Jonathan Freemantle. 2014

Absolute Reflection, collaboration with Jonathan Freemantle (2014)


Reflective Form in Nature. 2012. Nirox Sculpture Park -

Reflective Form in Nature, Nirox Sculpture Park (2012)


Looking at your pieces, they feel a bit like line drawings in 3D – minimal, but somehow never sparse. What informs your aesthetic? How has this developed over the years?


Over the years my aesthetic trajectory has slowing evolved but retains a level of coherence, this can be seen in some of my earliest works as a child. Architecture and the city have played a very important role in defining my aesthetic. I often incorporate and distort forms, symbols and patterns based on the fabric of physical space that I find myself in or am interested by. A minimal and abstract aesthetic has developed from a constant refinement of subject and form, attempting to convey meaning in a nuanced and sensitive way, leaving viewer interpretation open-ended.


For your most recent solo show, ‘Forms (S/W)’ at NIROXprojects, you used a combination of drawings, photographs, sculptures and prints to examine the influence of European architectural forms on the urban fabric of South Africa. How did you become interested in this topic to begin with, and what were your findings?


The origin of my interest in this subject developed when I was at university, and largely revealed itself when I moved from Johannesburg to Cape Town. During this time I was trying to reconcile the idiosyncrasies of the two South African cities, the colonial history ingrained in Cape Town architecture and urban planning really struck me. This subject became the topic of a number of bodies of works as I found the influence of European systems on South Africa both intriguing and troubling.


Is this investigation an ongoing one? If not, what are you exploring through your current work?


This investigation is constantly influx and dynamic, however I feel it will be forever ongoing. For me the city, its architecture and its buildings make us consider previous tools for constructed expression, they embody past uses, functions and histories, they contain memories, they are sites of contestation or sites of remembrance, and within their style, their detailing, brick and tile pagination, flooring, roof trusses, cracks and peeling paint, they can be read, becoming symbolic of the history that has informed them. The city is that of an agglomeration of individual and collective memories, forming a library of constructed materiality containing the secrets and truths of society. The societal forces located within physically constructed urban space are materials that I use to inform aesthetics. Cultural expression produces a vehicle for art and architecture to communicate and engage with a wider public. This communication is achieved through the language of art.



Tell us about your upcoming short film, SPLICE. It’s been in the making for 5 years?


SPLICE collection of footage captured over a period of 5 years between Africa, Europe and America, creating a visual and sound voyage of the practice of everyday life. I have chosen to adopt a non-linear narrative to tell the story of the city, friendship, family and creativity from 2010 – 2015. Since 2010 I have been capturing snippets of my travels and experiences, both professional and personal, a very organic and subconscious documentation of my experiences at the time. I am now in the process of composing and performing the soundtrack.


While your focus is sculpture, your practice really does span disciplines. What do you enjoy about a multi-disciplinary approach?


I feel that the artistic medium should directly relate to the intention of an artwork, and therefore I don’t like to insolate or reject the possibilities of conveying a message through a multitude of disciplines, whether it is sculpture, drawing, photography, video and/or performance.



HARTDESIGN, the cube


HARTDESIGN. Detail of Furniture

HARTDESIGN, detail of furniture


Your venture, HARTDESIGN forms part of the 100% Talent showcase at 100% Design South Africa this year. Could you tell us about the range you’ll be showing and the modular system it is based on?


HARTDESIGN is a furniture brand and manufacturer based in Cape Town, South Africa. I am the principle designer and together with a team have developed a range of design permutations based on variations of a modular furniture system developed by ELOFFHART in 2015. The “system” in essence is a connector component with multiple variations, each component is hand machined and finished out of solid aluminum. Over the last few months HARTDESIGN has strived towards making a furniture solution that does not use any screws or welding to hold it together. The System is modular in its approach however this modularity serves as a device for HARTDESIGN’s design process, the system creates a frame of which can be filled and fitted with a diverse range of material surfaces, such as wood, marble, and glass. Not only can the surfaces be made out of different materials but so can the frame itself, such as a powder coated colour range, and an iteration made out of solid brass.


And finally, are you working on or working towards any new projects or exhibitions at the moment?


I am currently working on series of public commissions and proposals, an entirely new body of work comprising sculpture, print, photography and performance, a new series of artist books, and I will continue to adapt and pursue my furniture venture.


HARTDESIGN. Bookshelf detail

HARTDESIGN, bookshelf detail


HARTDESIGN. Light Fitting

HARTDESIGN, light fitting


HARTDESIGN. Coffee table marble

HARTDESIGN, coffee table marble


See a few pieces by HARTDESIGN at the 100% Talent showcase of innovative homeware and furniture at 100% Design South Africa from 6-10 August.


Rodan Kane Hart STRUCTURE COLLAGE. 2013. Collaboration with Ben Johnson

STRUCTURE COLLAGE, collaboration with Ben Johnson (2013)


Strcutural Palimpsest. 2014. Nirox Sculpture Park -

Strcutural Palimpsest, Nirox Sculpture Park (2014)


Mirror in Nature. Nirox Residency 2013 -

Mirror in Nature, Nirox Residency (2013)


Interlocking Sculpture Series. 2015

Interlocking Sculpture Series (2015)


FORMS (S-W)Drawing Series 3 Eng-RSA. 2014

FORMS (S-W), Drawing Series 3 Eng-RSA (2014)


FORMS (S-W)Drawing Series 4 Eng-RSA. 2014

FORMS (S-W), Drawing Series 4 Eng-RSA (2014)


STRUCTURE. Installation View 1. 2013. Nirox Projects

STRUCTURE at Nirox Projects, installation view (2013)


Rodan Kane Hart PATTERN LANGUGE Installation View 3. 2013 at WHATIFTHEWORLD -

PATTERN LANGUGE at Whatiftheworld, installation view (2013)


Collection of Forms (Round). 2014

Collection of Forms, Round (2014)


Illusionistic Bend 1. 2012 -

Illusionistic Bend 1 (2012)


ENG. Shadow on Stairs 2014

ENG, Shadow on Stairs (2014)


Rodan Kane Hart RSA. Shadow on Pavers 2014

RSA, Shadow on Pavers (2014)


Shape to Form, Spiral. 2014

Shape to Form, Spiral (2014)


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A Sumptious Season of Asian Influence | KLûK CGDT SS16 Collection Mon, 03 Aug 2015 16:36:44 +0000

KLûK CGDT's luscious new lookbook is a delectable combination of voluminous asian inspired forms off-set by hints of sleek 1950s elegance.

The post A Sumptious Season of Asian Influence | KLûK CGDT SS16 Collection appeared first on Between 10 and 5.



KLûK CGDT’s luscious new lookbook is a delectable combination of voluminous asian inspired forms off-set by hints of sleek 1950s elegance. The predominant hues of grape, burgandy, coral and tobacco exude a luxuriant density which is complemented by flowing elements inspired by holiday resort dressing.


The collection was showcased alongside the #KlukCGDTartisan collaboration with Levi’s and focuses on, “the artisinal quality of fashion, the couture, the exclusive, the made-ready-to-order aspect of it, which is what KLûK CGDT is all about”, say designers Malcom Kluk and Christiaan Gabriel du Toit.


The individual items creating each look are inspired by garements such as kimono gowns, kaftans, jackets, pencil skirts and cigarette pants. Beautifully made from imported silkscreen satin, burnt out velvet, brocade, guipure lace, crêpe and bouclé, each look embodies the notion of modern luxury fashion of which KLûK CGDT is reknowned for.


Follow them on Twitter @KLuKCGDT, Instagram and Facebook.



Lookbook and social photography: SDR Photo

Stylist: Malcolm KLuK and Christiaan Gabriël Du Toit

Hair and make up: Clanelle Burger / M.A.C Cosmetics

Model: Kelsey Ann Pike, Max Models














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Fascinating Stories Told in Honeymoon Studios’ Cinematic Podcast Series Mon, 03 Aug 2015 14:46:50 +0000

Honeymoon Podcasts is a series dedicated to unearthing interesting stories that you won't hear at a dinner party.

The post Fascinating Stories Told in Honeymoon Studios’ Cinematic Podcast Series appeared first on Between 10 and 5.


Honeymoon Studios Podcast Logo


Apart from releasing music as a solo electronic artist, Markus Wormstorm runs Biblo, a record label/online music library, and Honeymoon Studios, a full service sound studio specialising in music composition and voice over recordings for commercials, films and video games.


It’s through the latter that Markus acts as executive producer for another side project, Honeymoon Podcasts. The podcast series is dedicated to unearthing interesting stories that you’re unlikely to hear at a dinner party – unless you’re listening to the podcasts at a dinner party, of course. Each story is woven with unique music, soundscapes and compositions that add a cinematic element to the experience.


For the first instalment of the series Honeymoon Studios presented ‘Beautiful Lies’ with celebrated South African author Lauren Beukes, who shared her thoughts on internet scammers, like Nigeria’s “Yahoo boys”, who tell lies via email asking for money.


One particular example from someone posing as Grace Mugabe reads: “I know that this mail might come to you as a surprise, as we have not met before. My name is Mrs. Grace Mugabe, the wife of Mr. Robert Mugabe – the president of Zimbabwe. Our country is currently facing international sanction all over the world and my efforts to speak peace to my husband prove abortive because he already has a wrong notion towards the Western nations. As the first lady of our country I have been able to use my position to raise some money from contacts which are deposited with a European diplomatic security company the sum of $35 000 000. Knowing fully that our government will soon be brought down by international communities because of the manner at which things are degenerating in Zimbabwe, I am contacting you because I want you to go to the security company and claim the money on my behalf. I also ask you to please pray for me to survive the internal threats that I am experiencing from my husband, President Robert Mugabe, because as I am sending you this urgent proposal, tears are flowing from my eyes as I am living with a human monster.”


Lauren speaks about the levels of exploitation at play in these types of scams, and how morality fits into the whole scenario. We, as the audience, are so ready to believe these fictions and fabrications because we believe we deserve “the perfect romance” they are crafted to portray. Someone needs us and as such, we feel chosen. Divinely selected, even.


Listen to ‘Beautiful Lies’

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The second (and most recent) Honeymoon Studios podcast is ‘The Giants of Lesotho’ as told by award-winning journalist, author and political commentator Max Du Preez. The two-part story uncovers the lesser-known history of Lesotho with tales of wise men and warriors, and of an ideology that led to the creation of this fascinating country.


When thinking of Lesotho, many things immediately spring to mind. In recent times it has become a land shrouded in controversy, but way before all of the utterances of coups, water projects and labour issues, lies a gripping secret history of a land filled with larger-than-life personalities. Through the guidance of these leaders, Lesotho withstood attacks from just about everyone ranging from Shaka Zulu, Mantitisi – Queen of the Wild Cat People, The Boers and eventually even the British Empire. It became a beacon of hope in a tumultuous time of famine, wars and cannibalism.


‘The Giants of Lesotho’ begins with a young prince named Mohlomi who, during his initiation, had a miraculous vision in which his ancestors foretell his destiny. The sequence of events that followed lead to the formation of the “Mohlominism” ideology that eventually paved the way to the foundation of Lesotho.


Listen to ‘The Giants of Lesotho’

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Featured: Artist John Murray Gets Abstract Momentum Mon, 03 Aug 2015 10:00:43 +0000

We catch up with John Murray about what his portrait and abstract work has in common, his process of “action and reaction”, and about being restless and constantly thinking of different ways to paint.

The post Featured: Artist John Murray Gets Abstract Momentum appeared first on Between 10 and 5.



‘UNDO 9′, 2014, Acrylic on canvas, 100 x 89,5cm. The artwork is on exhibition at a Nando’s in the UK.


Artist John Murray has been painting abstracts for the last 10 years but has only recently started showing them. They’ve been a big hit. Two of his abstracts have been interpreted into large-scale murals and more shall follow. We catch up with him about what his portrait and abstract work have in common, his process of “action and reaction” and about being restless and constantly thinking of different ways to paint.


What is your creative process when creating one of your abstract pieces? Do you plan your work first and use a grid system and measuring tools to achieve all those straight lines, or is it more of an organic process?


My process is rather organic. To a large extent I’m guided by the painting itself. There is a lot of chance involved in the process. I sit and stare at the painting for a long time to try and figure out where I want to go with it. Often I find myself in a dead end and will paint over the existing painting and then use the residue to build a new surface. I use a lot of masking tape to create rigid lines.


When you stand in front of a blank canvas and begin one of your abstract works, what is going through your mind and being?


Early on in the painting my approach is spontaneous. From here I follow a process of “action and reaction” where I respond to the surface with various shapes, textures and colours. I think underlying to my work is the idea of the fragment. Many of the abstracts allude to structures that are simultaneously in the process of shaping or perhaps disintegrating. I like to work in that ambivalent space.


Click here to view the embedded video.


How did your artwork ‘The Wall‘ came to be used at Nando’s Central Kitchen?


Nando’s commissioned five artists to make a painting specifically for consideration for one mural at Central Kitchen. I was fortunate that they eventually chose my painting for the actual mural to be executed by Colossal Media. The painting had to be done on a panel of 1,2m x 4m that was then scaled up for the mural. There is quite a lot of movement in the painting. In the back of my mind I was thinking of the energy and flux that exists in a big city like Joburg.


The execution by Colossal Media measures 15m x 4.5m. Is their rendition an exact replica of your artwork? What was it like watching it being super-sized?


It was fascinating to see how well and quickly they were able to replicate my painting in free hand. They’re highly skilled in what they do. It was interesting to see how they simulated some of the washes through various painting effects. I worked quite spontaneously in my painting while they had to be quite analytical in their approach. I tried to give a hand with the mural, but was completely overwhelmed by the different way of thinking and painting.


Was this the first one of your artworks to be turned into a mural?


This was the first mural of my work. I have since done a mural for Nando’s in Virginia in the USA and there are one or two more in the pipeline. Southern Guild has also initiated an edition of one of my paintings in a large rug made by Paco.


Your portfolio also includes a series of painted portraits. Is it true that portraits you paint are typically of people you know?


Sometimes they’re based on people I know and sometimes they are fictional, but I think there is often something ambivalent about their identity. Recently I’ve discovered an American website of mugshots that are updated daily. Some of my newer portraits are based on these melancholic mugshots.


Blue Shirt Male

Blue Shirt Male 

Dark Cloud

Dark Cloud 

Blue Forehead female

Blue Forehead Female 


Recently you seem to be focused on your abstract work though. Can you trace connections between your portraiture and your abstracts?


I think once I’m busy with and inside a painting my physical approach to painting portraits or abstracts is very similar. Like my abstracts I often paint or wash over the portraits and start again with what is left on the canvas. I think as an artist your subjective environment is influenced by your physical environment. Difference is integral to South Africa and of course it creates vibrancy, but also tension and I do think this has a subliminal influence on my work.


What prompted the shift to abstract?


I’ve been painting abstracts for the last 10 years or so but have only started showing them recently. It was a gradual process of becoming more interested and confident in my approach to them. I think I’m always a bit restless and constantly thinking of different ways to paint. Currently I feel the momentum is with my abstract work.


Which other abstract artists that inspire you?


I’ve actually always been more interested in figurative painters. As a student I looked at people like Lucian Freud, Gerhard Richter, Cheri Samba and Alice Neel. Even now I feel more of an affinity towards figurative painting rather than pure abstract painting. But, I have always admired the work of the Russian Constructivists, which I think has had a visual influence on my work.


Tell us a little about the history of your involvement with Nando’s Art and if it has contributed to your career in any way.


The mural work that Nando’s has initiated has exposed me to a different scale of working and created opportunities to travel. To date they’ve also acquired a few of my works for their collection.


Any forthcoming exhibitions or noteworthy future happenings?


I had a solo show, Undo All, at Whatiftheworld earlier in the year. I’m currently working on commissions and work for the FNB Joburg Art Fair.



‘UNDO 6′, 2014, acrylic on canvas, 150 x 120cm.


‘Bounce’, 2014, Oil on Canvas, 140 x 120cm. The artwork is on exhibition at Nando’s Central Kitchen, Johannesburg.


‘Topple’, wool and silk rug, by Paco Pakdoust.


‘Laager’, 2014, 100cm x90cm. The artwork is on exhibition at a Nando’s in the UK.


John Murray Installation

John Murray’s Installation at Nando’s Virginia, USA.


‘UNDO 2′, 2014, acrylic on canvas, 200 x 140cm.


‘UNDO 4′, 2014, acrylic and oil on canvas, 150 x 120cm.


‘ Evaporate’, 2014, Oil on Canvas, 140 x 120cm. The artwork is on exhibition at Nando’s Central Kitchen, Johannesburg.

Undo 14

‘Undo 14′, 2014, oil on paper, 50 x 65cm.


‘UNDO 3′, 2014, acrylic and oil on canvas, 140 x 120cm. The artwork is on exhibition at a Nando’s in the UK


‘UNDO 5′, 2014, acrylic and oil on canvas, 140 x 120cm.


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Oh Wow! – Skattie Celebrates, Travel Snaps and a Surprise Album. Fri, 31 Jul 2015 13:30:57 +0000

Skattie Celebrates the art of Thania Petersen, Kent Andreasen shares some travel snaps and The Lottery Tickets release a surprise old/new album.

The post Oh Wow! – Skattie Celebrates, Travel Snaps and a Surprise Album. appeared first on Between 10 and 5.


In today’s edition of Oh Wow! we’re celebrating Thania Petersen’s art with Skattie, listening to The Lottery Tickets’ old/new album (recorded three years ago but released this week) and looking at some of Kent Andreasen’s over-the-seas travel snaps.


ONESkattie Celebrates: Thania Petersen took place at the AVA Gallery in Cape Town last night. Download a zine featuring Thania’s work and an interview with her via the ARTsouthAFRICA app.


Skattie - Thania Petersen (1)

Skattie - Thania Petersen (2)


TWOPollinator, a 3 piece band from Johannesburg, released their first single ‘Motivational Speaker’.



THREE – The lookbook for Sol-Sol’s Winter 2015 collection. See it in full here.







FOUR – ‘Blue Crush 2′, the third instalment of Quit Safari‘s podcast series.



FIVE – The cover artwork by Justin Poulter for Stuart David’s book ‘Jackdaw And The Randoms’.




SIX – A music video for Hellcats ‘Black Wolf’ shot by Mark Strydom of Spitfire films.



SEVEN – A few recent photos from Kent Andreasen‘s travels abroad.


Kent Andreasen (2)

Kent Andreasen (4)

Kent Andreasen (1)

Kent Andreasen (3)


EIGHT – After nearly a three year hiatus The Lottery Tickets have shared their album ‘Evergreen’ recorded between 2011 and 2012.




More Oh Wow!


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Adriaan Kuiters + Jody Paulsen SS16 Collection | A Collage of Influences Fri, 31 Jul 2015 13:25:57 +0000

Drawing off a collage of sources, the new SS16 Collection by Adriaan Kuiters + Jody Paulsen fuses sporty themes, 70s Bauhaus motifs and post-modern elements into a characteristically urban and wearable collection.

The post Adriaan Kuiters + Jody Paulsen SS16 Collection | A Collage of Influences appeared first on Between 10 and 5.


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“We want the audience to be entertained by our clothes”, Keith Henning and Jody Paulsen said of their SS16 Adriaan Kuiters + Jody Paulsen show that took place at Mercedes-Benz Fashion Week Cape Town (MBFWCT) last night at The Watershed.


This new collection did just that. Taking its departure from a collage of different sources, including grid-like 70s motifs, sporty themes, the fluid movements of American post-modern dancer/choreographer Lucinda Child, the music of Philip Glass as well as Bauhaus and Constructivist textiles, the duo have fused these disparate elements together into a collection that retains the effortless, easy-wearing look that is characteristic of the label.


The lines and silhouettes of this collection are vintage Adriaan Kuiters with a functional, urban, wearable character. Old prints, fabrics and patterns being reworked and reused to create something new. The cuts are structured and classic yet easy to wear and sporty. The fabrics used for the show – scuba knit, linen, crêpe, leather, poplin, silk and knits – were selected first and foremost for their ability to move with the wearer. In keeping with the brand’s aesthetic, and with a nod to Lucinda Child’s androgynous style, all the garments are unisex with spacious and forgiving fits.


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The colour palette was characterised by nudes, whites, greys, black and primary colours. Jody says that his prints for this collection, which relied on repetition, were largely inspired by Philip Glass’s score for Lucinda Childs’ choreography. “We wanted them to look like textures and used motifs that appeared on Bauhaus and Constructivist textiles, the Maria Keil tiles we saw in the Lisbon underground, and in the works of David Hockney, Roy Lichtenstein and Sol LeWitt. There are elements in all these artists’ works that echo the conceptual approach of the collection, which I love.”


Appliquéd fabrics and semi-precious stones lent a three-dimensional, visceral feel to the looks. Keith and Jody’s collaborative approach extended to include Steffany Roup who created the accessories and jewellery for the show. Each of the brass and wooden bangles, hair clips, brooches and pendants were designed collaboratively  “We met weekly to discuss and develop the pieces that were largely inspired by the shapes in the prints,” Keith explains, “we literally held the jewellery in front of the clothes to see how they would work together before collaging the shapes into the final looks. This allowed us to create looks that are more cohesive and complete than would have been otherwise possible”.


Adidas was the shoe sponsor for the show, with models wearing all-leather Stan Smiths and Superstars, and together with plastic visors, adding to the sporty themes of the collection.


Adriaan Kuiters + Jody Paulsen’s SS16 designs will be available in the Kloof Street store in Cape Town and online at in September 2015.


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Ramp photography by SDR Photo | Backstage photography by Niquita Bento.



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Featured: Portia Zvavahera Dreams of Exotic Blossoms of Love Fri, 31 Jul 2015 11:37:55 +0000

Portia Zvavahera has dreamed into being an exotic pleasure garden for her new solo exhibition in which sensual flowers envelop passionate couples in a tribute to love.

The post Featured: Portia Zvavahera Dreams of Exotic Blossoms of Love appeared first on Between 10 and 5.


Portia Zvavahera i_can_feel_it_in_my_eyes_18


Dreams, love, flowers, pattern and fabric all have a profound influence on the work of Zimbabwean artist, Portia Zvavahera. However, her flamboyant style of painting and mark-making in oil-based printing inks transforms these tropes into a deeply personal and evocative visual language that is richly emotive. Last year Portia was awarded the FNB Art Prize, and the year before that the 10th Tollman Award for the Visual Arts. In her new body of work, I Can Feel It in My Eyes, currently on at Stevenson in Cape Town, Portia has dreamed into being an exotic pleasure garden – a tribute to love – in which couples, gripped in the throws of passion, are enveloped by the sensual folds of huge flowers and leafy plants. 



How does your own history and experience influence your work?


I’m inspired by my life experience, and that’s where my subject matter comes from –my experiences and also from my dreams. I sleep with my sketchbook under my pillow so that whenever I have a dream I can sketch it down in the book, and then later on I will try to develop it, including trying to also put my experiences into the same vision I have seen in my dreams. So it’s like the dream and my experiences – together I make a sketch out of it.


Portia Zvavahera i_can_feel_it_in_my_eyes_23


All the artworks in this show have the same title. Does this mean that they all relate to the same dream? 


Yes. It was a dream, which I had a very long-long time ago when I was not yet married. I had a dream with me and my husband, we were hugging each other and there were people around us, like celebrating our wedding or marriage or something. So that’s where this whole body of work is coming from.



Can you tell us about the title of your show, I can feel it in my eyes?


The ‘it’ in the title is love that I am really speaking about. Like whenever we go to our church ‘it’ is in the Harare Gardens. You get to see a lot of couples in it, seated, eating, you know, embracing each other, and so when you look at them, you get inspired by love and that’s how it started. That’s where the thing is coming from.


Portia Zvavahera i_can_feel_it_in_my_eyes_27Portia Zvavahera i_can_feel_it_in_my_eyes_26


In this body of work, as in previous ones, floral motifs feature prominently. Can you tell us a little about this?


I think the idea of flowers in my work came when I received flowers from my then husband to be Gideon. I had never really thought that somebody could receive flowers and be happy about it, but when I first received flowers from him I was so happy, and I didn’t know what to do with them, and so the only thing I could do was to put them on a table and start sketching them.


And then I discovered that I had to put them, with the passion of love, into a wedding gown, and then later I decided maybe I should join this with a wedding gown and images of weddings. Plus my interest in fashion – I wanted to join everything together, and that’s how it started. Also, when I go to see people in Harare Gardens, they are always behind flowers or in front of flowers, they always sit where there are flowers, they always look for a place where it’s nice to sit. So now I’m just taking that big flower motif and putting it in the painting to make it a background.


Portia Zvavahera i_can_feel_it_in_my_eyes_20


Can you tell us a little about how you paint your flamboyant canvases as well as choice of materials?


I work in a container so I bought big boards, like 3-metre wide boards, which is where I put the canvasses when I am painting on them. Using cardboard blocks I then press the prints onto the canvas and take a spoon and rub on the board to transfer the print to the canvas. I went on a workshop in Zimbabwe through an organisation called Arts Interruptions. They invited an artist from Namibia who specialises in print, Papa Shikongeni is his name, and he specialises in card print, and so it was on that workshop that I learnt how to do cardboard printing.



Please tell us more about your interest in pattern and fabric, which is almost like its own subject in your paintings.


Coming from Africa there is colour and designs everywhere and these designs inspire me a lot. Also fashion in my country inspires me a lot because people are now wearing mostly floral dresses. I try and put fashion into my work, to take everything that I see in the streets – what people are wearing and try and put it all together into my work, into my paintings.


Portia Zvavahera i_can_feel_it_in_my_eyes_22Portia Zvavahera i_can_feel_it_in_my_eyes_2


How does colour figure in your work?


I think it depends on my mood, as I might feel like I should just use white. I don’t see colour sometimes, but other times if I see too much of the same colour I want to put it in my painting.



Who or what are some of the influences that have informed your painting?


I like the work of Egon Schiele and I love Edvard Munch. I love his works…


Portia Zvavahera i_can_feel_it_in_my_eyes_21


How has winning the 10th Tollman Award for the Visual Arts in 2013 and the 2014 FNB Art Prize helped you grow as an artist? 


It’s inspiring, you get more energy to do more of what you want to do, and you are more settled. It’s a feeling that you know that somehow you are going somewhere in your career, that’s how I felt. And I was happy to be supported so that I can develop my career in building my studio, like what we did. We bought a container when we got the prize and so I have a studio now.



What’s next for you?


At the moment I really don’t know what to do next, because of what I have experienced in my life, because my work is basically about myself and how I live, and so it depends on what comes and what is happening in my life.


I Can Feel It in My Eyes is on at Stevenson Cape Town until 29th August.


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