Between 10 and 5 The South African creative showcase 2015-08-03T10:00:43Z http://10and5.com/feed/atom/ WordPress Louise McCann <![CDATA[Featured: Artist John Murray Gets Abstract Momentum]]> http://10and5.com/?p=118805 2015-07-31T10:19:17Z 2015-08-03T10:00:43Z

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.

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UNDO9

‘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

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

Bounce

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

Topple

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

LAAGER

‘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

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

UNDO 4

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

Evaporate

‘ 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.

UNDO3

‘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

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

 

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Jessica Hunkin <![CDATA[Oh Wow! – Skattie Celebrates, Travel Snaps and a Surprise Album.]]> http://10and5.com/?p=119009 2015-07-31T12:58:26Z 2015-07-31T13:30:57Z

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

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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.

 

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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’.

 

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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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Layla Leiman <![CDATA[Adriaan Kuiters + Jody Paulsen SS16 Collection | A Collage of Influences]]> http://10and5.com/?p=119036 2015-07-31T13:25:57Z 2015-07-31T13:25:57Z

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.

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Adriaan Kuiters MBFWCT Low Res-49

 

“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.

 

Adriaan Kuiters MBFWCT Low Res-34Adriaan Kuiters MBFWCT Low Res-30Adriaan Kuiters MBFWCT Low Res-15

 

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 adriaankuiters.com in September 2015.

 

Adriaan Kuiters MBFWCT Low Res-20Adriaan Kuiters MBFWCT Low Res-13Adriaan Kuiters MBFWCT Low Res-10Adriaan Kuiters MBFWCT Low Res-43Adriaan Kuiters MBFWCT Low Res-5Adriaan Kuiters MBFWCT Low Res-16Adriaan Kuiters MBFWCT Low Res-22Adriaan Kuiters MBFWCT Low Res-27Adriaan Kuiters MBFWCT Low Res-38Adriaan Kuiters MBFWCT Low Res-54Adriaan Kuiters MBFWCT Low Res-73Adriaan Kuiters MBFWCT Low Res-19Adriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody PaulsenAdriaan Kuiters and Jody Paulsen

 

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

 

 

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Layla Leiman <![CDATA[Featured: Portia Zvavahera Dreams of Exotic Blossoms of Love]]> http://10and5.com/?p=118960 2015-07-31T11:37:55Z 2015-07-31T11:37:55Z

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.

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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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Between 10and5 <![CDATA[Advertising’s Virtual Future]]> http://10and5.com/?p=118392 2015-07-31T08:59:25Z 2015-07-31T10:00:03Z

Pioneering agencies and brands are already providing examples of what’s possible using the next transformative technology for the advertising industry.

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Glenfiddich

 

The duty of communicating a brand message to a targeted audience in order to sell a product or service is an oversimplification of the challenge the advertising industry is faced with today. Not only is the task at hand to conceptualise and execute an engaging brand narrative that differentiates the client from competitors and compels the consumer to action, but in order to do this effectively the responsibility of the agency is to become actively aware of new technologies and the potential for these to become new channels for communication. As new technologies are developed and adopted, consumer behaviour shifts. And so explains advertising’s obsession with ‘the next big thing’ that’s perpetually on the brink of transforming the industry.

 

Not technically a new technology – the concept has been around for half a century – the contemporary applications for Virtual Reality (VR) are making headlines as the next transformative tech for the ad industry. According to speakers at Cannes Lions its current novelty is not to be underestimated as a multi-dimensional flash in the pan.

 

Grant De Sousa is a director and part of the team at Sense Virtual, Africa’s first technology startup that is solely focused on creating content and developing applications for Virtual Reality. He says, “In the next few years, we’ll have fully immersive VR experiences that push the boundaries of what’s real and what’s not. The real excitement lies in the potential for this tech, such as how it can be implemented in almost any industry as both an educational tool and the next step in entertainment.” But he believes that VR is the ultimate tech for advertising, an industry whose purpose is to engage potential customers in an unforgettable way, “By immersing potential customers in a world created specifically to do just that, while communicating a core idea or product, advertising agencies will certainly be upping the ante to explore the possibilities of immersive marketing.” What could be a more natural progression for branded content than branded experiences.

 

Glenfiddich

 

By virtue of their requirement for being at the forefront of communication, brands are often early adopters of tech. While many regard VR to still be in that odd space where people are eager to use it but are still contemplating the best application, pioneering agencies and brands are already providing examples of what’s possible.

 

Graeme Lipschitz, co-founder of creative studio Wonderland Collective, shares some ways these technologies are being implemented in brand communication, “[Bands] like One Direction have used Augmented Reality (AR) to produce a picture book of their album. Net-a-Porter created AR storefronts in Paris, New York, London, Munich and Sydney to promote the new Karl by Karl Lagerfeld collection. The storefront looks fairly commonplace, but with a little help from the Net-a-Porter Karl app, fashionistas can reveal videos of the catwalk, product information, 360 degree product models, pricing and the ability to purchase the products.”

 

Through VR, Volvo allowed users to virtually test-drive their Volvo XC90, and Coca-Cola granted football fans virtual access to play on the legendary field at Maracana Stadium in Brazil during the World Cup. If cars aren’t your thing, how about taking a holiday for a spin? Also last year Marriott Hotels ‘teleported’ newlyweds on 4-D trips to far-off destinations using Oculus Rift.

 

When asked about pushing the limits with conservative clients, ECD at Joe Public Xolisa Dyeshana said, “Many creative people put the blame on their clients. At our agency we believe that the only way to get clients to do better work is to inspire them by showing them amazing ideas.” Adding, “Inspired people are a lot less risk-averse.” The potential for thrilling audiences aside, imagine how using Oculus Rift could change the client presentation game when pitching an experiential idea?

 

Glenfiddich

 

Currently the cost of producing VR video is proving to be a barrier to more wide-spread use of the technology with the production of a three minute video reportedly costing over $1 million or over 12,5 million rand. However, experimentation with other technologies like 3D printing is providing possible solutions through the printing of inexpensive camera equipment to aid shooting from multiple angles.

 

There has also been an increase in affordable VR and AR hardware with viewers like Google Cardboard providing a ‘simple, fun and affordable way’ for people to enjoy such technologies through apps on their smartphones. Penny Macpherson, Managing Director of digital agency Liquorice (Durban) says, “Your first VR experience is likely going to be with a low cost headset like Google Cardboard but it’s still going to feel magical.” The innovative product won the mobile Grand Prix at Cannes. 3D printing is also coming into play in this space. Grant says, “It’s been predicted that by 2018, Virtual- and Augmented Reality hardware will be generating globally around $1.06 billion, so the industry’s growing and doesn’t look set to stop at any time soon!”

 

He adds, “The potential of VR for social networking has become quite interesting. After buying Oculus, Mark Zuckerberg said that, “Oculus has the potential to be the most social platform ever. Today social networks are about sharing moments, but tomorrow it will be about sharing experiences.””

 

Why not meet these tech-savvy consumers where they’re presumably headed to be? Working with largely unchartered technologies like VR, AR or artificial intelligence inevitably means steep learning curves, so those who are already in the game are going to have a considerable advantage going forward. Saul Kropman, Managing Partner at boutique mobile industry consultancy SLV&Co and Chair of the Marketing Jury at the 2015 IAB Bookmarks awards, says, “Agencies always want to be playing with tech because they want to ultimately win awards. The challenge is getting someone to let them tinker with new tech and still pay.”

 

Advertising awards are rewarding innovative use of tech across media. Saul says, “In my mind promoting tech innovation is the number one reason for The Bookmarks to exist. Digital advertising is constantly changing: one week we’re excited about Snapchat, next week we’re interested in competitors such as Beme. If we’re not rewarding innovative ideas and technology then we all might as well be putting billboards up on the highway and hoping that our adverts will catch random people’s eyes. I’m pretty sure that the reason people are in digital advertising is because they appreciate innovation.”

 

Glenfiddich

 

As with the novelty of all once-new technologies agencies do run the risk of producing work that’s more publicity stunt than meaningful interaction. As Penny says, “There’s a responsibility to the consumer when selecting how you’re going to deliver the message. One of the risks is using technology for technology sake. These technologies are maturing, but for us we’re still effectively in an emerging market…We want to reach the broadest set of consumers across all of Africa so our choice of technology is always geared around that. That means constantly innovating even on older technologies that are accessible to all.” For Graeme, it’s about how they apply new innovation to their clients’ and in turn their customers’ needs, “We’re essentially the custodians or promoters (I prefer pimps) of it. I’ve heard a lot of commentary that it is quite gimmicky and my response is that it is as gimmicky as it is employed to be.” It’s what you do with it that really counts.

 

According to Saul advertising should be, “all about a story. Don’t even bother if you’re not telling a compelling narrative, regardless of medium.” Penny agrees, “Creating a strong brand narrative that resonates with consumers is always going to be at the heart of the content we share with these technologies. What we’re gaining with VR is total brand immersion, where we can take a consumer along on a deeper journey into new territories. The risk is always going to be finding the balance, so that it doesn’t feel like you’ve strapped a billboard to your face. So the challenge right now is to create great content that immerses your audience in your message and getting them to want to take that journey with you.”

 

A good ad, according to Xolisa, is “something that is original, unexpected, relevant and something that resonates.” Regardless of new trajectories in the industry, this will always be the case. As Penny reminds us, “Technology always changes, but people always stay the same.” So perhaps ‘the next big thing’ for advertising is not new technology, well at least not in isolation. It’s using cutting edge technology to talk to the right people in the right way at the right time. It’s true integration of media and message; human truths in extra dimensions. As Xolisa says, “Technology has brought an element to advertising that we are still grappling with. We are all trying to infuse the old with the new and I believe that when we get that right we are going to rocket to the moon.”

 

Follow this Glenfiddich series for more articles and interviews with 7 forward thinkers in art and culture to discuss their careers and what they predict for the future of their industries.

 

Glenfiddich

 

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Jessica Hunkin <![CDATA[BoyznBucks Launch ‘The Racing Club’]]> http://10and5.com/?p=118993 2015-07-31T08:44:18Z 2015-07-31T08:44:18Z

See BoyznBucks' new collection of motorcycle gear in an ultra cool video lookbook by The Visual Content Gang.

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Though BoyznBucks started out as a group of friends with a collective love for music, they’ve begun hinting at an exciting future with projects in everything from fashion to art and more. The first of these is The Racing Club, a range of motorcycle inspired gear. “The aim,” they say, “is to export South Africa culture and ultimately influence the kids, letting them know that they can do the same, be proud of who they are and where they come from.”

 

In a video lookbook by The Visual Content Gang (who we collaborated with on this year’s Young South Africa video) the Boyz dominate an off road motorcycle lot kitted out in their motocross jerseys. Set to a track by Ganja Beatz, the entire action-packed scenario is almost too cool to handle – just watch and see.

 

The Racing Club will be available from August 15, 2015.

 

www.boyznbucks.com

 

Credits:

 

Video produced by: The Visual Content Gang

Creative director: Siyabonga Ngwekazi

Executive producers: Sanele Xolo and Phikolomzi Mditshwa

Director and producer: Takezito

Assistant Director: Chris Kets

Cinematography: Takezito and Chris Kets

Editor: Zunaid The Editor

Assistant editor: Chris Kets

Animator: Stuart Kets

Graphic design: Zamani Xolo

Music: Ganja Beatz

Sound Design: Tim Pringle

Starring: Okmalumkoolkat, Stilo Magolide, Bhubesii, Riky Rick Makhado, Thegooddokta, Phiko, Mkay Frash, uSanele and Scoop Makhathini

 

BoyznBucks - The Racing Club (6)

BoyznBucks - The Racing Club (4)

BoyznBucks - The Racing Club (5)

BoyznBucks - The Racing Club (8)

BoyznBucks - The Racing Club (3)

BoyznBucks - The Racing Club (7)

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BoyznBucks - The Racing Club (10)

BoyznBucks - The Racing Club (1)

 

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Jessica Hunkin <![CDATA[Dizzy Pop: Seferino’s ‘Monkey With No Tail!’ EP via Secret Songs]]> http://10and5.com/?p=118946 2015-07-30T12:45:39Z 2015-07-30T12:45:39Z

Seferino’s philosophy that music should be fun to make and to listen to comes through at the forefront of his newly released EP, 'Monkey With No Tail!'.

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Seferino 'Party Master' (2)

 

Seferino’s philosophy that music should be fun to make and, of course, to listen to comes through at the forefront of his newly released EP, Monkey With No Tail!. The Cape Town based singer and producer injects his tunes with both organic and electronic sounds while maintaining a clear love for pop.

 

Released via Ryan Hemsworth’s project Secret Songs, Seferino opens his four track EP with ‘Party Master’ singing “Everybody knows it’s a crazy world but I hope that it’s getting better”. Like the first, the three songs to follow – ‘Don’t’, ‘Brahmin’ and ‘Where Are We Going’ – all have an erratic sort of groove that’s unexpected, but undeniably catchy.

 

To coincide with the release of Monkey With No Tail!, Seferino compiled a mixtape for PressPlay that represents a spectrum of the sounds he enjoys. Listen to the compilation as well as the EP (which you can download here) below.

 

 

 

 

Watch the music video for Seferino’s ‘Party Master‘ and find more music on 10and5.

 

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Jessica Hunkin <![CDATA[Gaschette’s Spotlight on SA Menswear SS16 Collections]]> http://10and5.com/?p=118893 2015-07-30T08:05:46Z 2015-07-30T08:05:46Z

Gaschette has sifted through this year's SS16 menswear collections to pick their standout items, showcased in a slick and playful studio shoot.

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We’ve shared our own highlights from this year’s South African Menswear Week in Cape Town, followed by a series of edgy behind the scenes photographs. When it comes to an overview, however, no-one does it quite like Gaschette – it wasn’t long ago that they captured the most memorable pieces from MBFWJ and now they’ve done it again with another gorgeous shoot featuring the 2016 Spring/Summer menswear collections of local designers.

 

From Jenevieve Lyon’s utility chic, Orange Culture’s disco ready threads, sportswear-inspired pieces by Funduzi Man and Terence Bray’s washed out watercolours – there’s a lot of variety on the SA menswear scene. Gaschette puts a spotlight on their faves with slick studio photographs and playful styling.

 

For more South African menswear, see the lookbooks for OATH Studio’s ‘Unthinking‘ collection and Lukhanyo Mdingi’s ‘Taintless‘ range.

 

Credits:

Photography by Steve Marais
Styling by Jeandre Venter
Art Direction by Colin O’Mara Davis
Grooming by Carla Gersie
Featuring Toyin at Ice Models and Tayo at Boss Models
Courtesy of Gaschette Design Portal

 

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Jessica Hunkin <![CDATA[A Fresh Perspective: 10 Uniquely South African Music Videos]]> http://10and5.com/?p=118761 2015-07-29T15:04:08Z 2015-07-29T13:00:59Z

Watch an underground feud in a post-apocalyptic Jozi, a wacko extravaganza created with a DIY greenscreen and a whole lot of kick ass dancing.

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By now it’s no secret that South Africa (and the African continent on the whole) is a major creative force to be reckoned with, bursting with exciting young artists whose work is drawing eyes locally and abroad. Unfortunately, though, much is still left to proven formulas fed to us from a ‘first world’ that for so long we thought was better than what we had to offer back home – and that we still so often find ourselves subscribed to.

 

When it comes to the art of music videos, it’s perhaps much easier to make the visual equivalent of rapping in an American accent than it is to make something of our own, but more and more of the work we’re seeing emerge is quintessentially South African and tells stories that are diverse and unique to our country. And where cues are taken, they’re mixed up with a local flavour.

 

This is true of many of the music videos that have been released over the past year and it speaks of a newly found self-esteem. Instead of latching onto international trends, filmmakers (often following in the steps of the musicians they’re making visuals for) are starting to find and embrace their own styles, inserting a local experience and perspective into their work. This transition, from being fed culture to actually creating culture and finding pride in what South Africa has to offer – from locations, to dance styles, to dialect – is one we’re very happy to see and we’re taking the opportunity to celebrate it.

 

Nozinja ‘Tsekeleke’

 

 

In a fascinating (and somewhat disorienting) combination of computer generated imagery and real life footage, people’s faces are replaced with white noise and an empty lot is rendered full of glitches. Throw in some crazy good dancing from Nozinja and crew, colourful getups and a good dash of the bizarre and you’ve got the infectious music video for ‘Tsekeleke’ directed by Chris Saunders.

 

Dope Saint Jude ‘Keep In Touch’ feat. Angel Ho

 

 

From the opening shot of the “ticky-box” and the passing taxi with the “gatjie” shouting Cape Town, the music video directed by Chris Kets for Dope Saint Jude‘s ‘Keep In Touch’ feat. Angel Ho is filled with references of Cape coloured identity and the cultural dynamics surrounding race and gender. Local dialect, particularly Cape-slang and ‘Gayle’ (a language spoken mostly by gay males), feature prominently in the lyrics as well. The dominant phrase ‘Keep In Touch’ is one she hopes to add to the ever-growing queer lexicon which, according to Saint Jude, means “NANCY. Nanzukz. Nanzubu. Go away. Eff off.” Basically, she elaborates, “If you don’t fux with us, you can keep in touch!”

 

DOODVENOOTSKAP ‘Protein Shake’

 

 

It was just another day in Steenberg, Lavender Hill when a Cape Town hip-hop collective danced in front of a makeshift green screen in someone’s backyard. Filmmaker Jenna Bass was there to catch it all on camera, directing the action alongside animator Sebastian Borckenhagen who then edited in a continuous string of bizarro stock photos behind the crew. All of this, and now we have DOODVENOOTSKAP’s new music video for ‘Protein Shake’ – a wild, hilarious extravaganza that makes more sense the less you try to understand it.

 

Skrillex ‘Ragga Bomb’

 

 

We don’t need a current view count of over 56 million on Youtube or multiple awards to know that the Terence Neale directed music video for Skrillex‘s ‘Ragga Bomb’ is a winner, although it certainly doesn’t hurt either. Shot in a post-apocalyptic Johannesburg and Alexandra, the video features rival scavenger street crews in a burning city where fierce dance groups are preparing for an upcoming showdown. The feuding gangs eventually meet for an epic light sabre battle cheerleaded by drum majorettes and glow-in-the-dark mouthed dancers.

 

Riky Rick ‘Boss Zonke’

 

 

Riky Rick‘s ‘Boss Zonke’ music video features the Boyznbucks crew in their neighbourhoods across Johannesburg, Cape Town and Durban. Director/producer duo Adriaan Louw and Imran Hamdulay employed a documentary approach for the video to capture a series of (mostly) spontaneous events across the country, with Deon van Zyl‘s slick camera work bringing the whole thing together.

 

Zaki Ibrahim ‘Draw The Line’

 

 

Growing up as what she describes as a citizen of the world, singer-songwriter Zaki Ibrahim spent her childhood living at different times in Canada, South Africa, the United Kingdom, France and Lebanon. The music video for the track ‘Draw The Line’ off her Every Opposite album was shot in her current home of Cape Town. “The draw the line story does show me, but not exactly,” she says. “Coming from the Cape Flats and overcoming an environment with challenges such as poverty, drugs, sexual assault, and Post-Apartheid conditioning is no easy feat. Creating your own path and shining your light through adversity, taking everything that you’ve experienced and everything you are, is what the song is about.”

 

Haezer ‘Minted’

 

 

A crazy Afro-punk character named Hero and a voodoo sorcerer called The Rat Catcher work together as African superheroes, fighting for the oppressed and marginalized in the music video for Haezer‘s track ‘Minted’. Shot by Wim Steytler in hijacked and abandoned buildings in the Johannesburg CBD, the underlying concept remarks on the Xenophobia that is still rife in the area – specifically amongst Somalian expats. Deliberately not taking a documentary angle but rather, choosing to intervene and set up moments, the video takes on a surreal or magic realist slant.

 

Okmalumkoolkat ‘Allblackblackkat’

 

 

Playing with memory, reality and generational shifts, the music video for Okmalumkoolkat‘s ‘Allblackblackkat’ is loosely based on a Zulu cleansing ritual (which he experienced growing up) performed on a male family member before funerals. Through the visual direction of Chris Saunders, this traditional ceremony is contrasted with other South African modern sub-cultural influences that have manifested in Okmalumkoolkat’s own sound and dance.

 

Fantasma ‘Cat and Mouse’ feat. Mim Suleiman

 

 

Thlonepho Thobejane directed a vibrant expression of South African youth in Fantasma‘s music video for ‘Cat and Mouse’ feat. Mim Suleiman. Following a group of young ballet dancers as they make their way through the township of Khayelitsha, the video draws inspiration from Spoek Mathambo’s personal history; his mother is on the board of a Johannesburg-based dance company that has been going since the height of unrest in SA in the 70s. “I’ve seen how modern dance and ballet has offered kids from townships another reality,” said the band’s frontman.

 

Boolz ‘Aphe Kapa’

 

 

Boolz’s song titled ‘Aphe Kapa’, which translates to “Here in Cape Town”, celebrates exciting things that young Capetonians are creating and keeping busy with. Directed by Batandwa Alperstein in Langa where Boolz grew up, the video showcases a great variety of local creativity including performance artist Jana ‘Babez’ Terblanché, graffiti work by Skhumablisto and custom bicycles by Zahier Davids of Flywheel Custom Chariot. “Langa has never had a hip hop music video shot there and there’s so much to be celebrated,” says Batandwa. He explains that with this song and the new music video, they wanted to show that “Aphe Kapa (Here in Cape Town) the youth are flexing as hard as other parts of the country.”

 

 

More List Wednesdays on 10and5.

 

 

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Layla Leiman <![CDATA[Featured: Jessica Webster “Murderer”]]> http://10and5.com/?p=118343 2015-07-28T13:31:37Z 2015-07-29T10:00:20Z

Jessica Webster's solo exhibition "Murderer" is haunting and uncomfortable. Each canvas offers a view into a scene in which something is about to happen.

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Jessica Webster "Murderer"

Sequence 32, (you can do 100 things right…)

 

Jessica Webster’s solo exhibition “Murderer” at Goodman Gallery is haunting and uncomfortable. The body of work, which consists of one hundred large and small canvases, is heavily loaded with intent; the show suspended on the brink. Each of the canvases offer a view into a scene in which something is about to happen. But we’re denied the satisfaction of seeing what transpires and are left with that Lynchian sense of unease. The layers of paint and encaustic wax that Jessica has applied on top of stills from South Korean revenge thrillers printed onto the canvases have a ghost-like effect; an eerie forewarning like music in a film.

 

Does this exhibition continue themes that you’ve explored previously in your work? (If so please tell us a little about them)

 

I think my themes have been pretty variable in the ‘blocks’ of work I’ve done over the last six years or so. Thematically, I have drawn from formal theories on trauma, concepts of colour, image-provocations of identity and place, and the question or confusion of style, even taste. I shift these parameters from time to time in order to decentre what I see as a central subject of my interests. The subject, I would say, is always structurally-oriented towards the authority of painting to serve an intersubjective moment.

 

Paintings format as vertical and two-dimensional have been historically developed to signify, quite directly, the junction of self and other. That it’s difficult to imagine the construction of a computer screen in any other way testifies to this social consciousness. But my interest in notions of intersubjectivity are general and specific: to me, points of contact between private and public spaces remain fundamentally veiled. I find even people who are close to me a bit anxiety-provoking, and I unsettle myself with my own thoughts quite often. Haunted questions of femininity are never far from the relation either. But generally I am never sure where our intentions connect or disconnect, or what precisely our streams of motivations are. These things are not obvious.

 

A gigantic bank of figures on TV screens could just as well represent my ideas. However, the specificity offered by the painted surface extends that conversation in almost infinite permutations, like a dialogue. The border between self and other is dark terrain, complex, and for me painting enacts as well as shows the labour of that crossing.

 

Jessica Webster "Murderer"     Sequence 13, (Just be honest)

Jessica Webster "Murderer" Sequence 38, (you keep looking in the wrong places)

 

What appeals to you about the medium and act of painting?

 

Painting is close to writing in the most literal of ways, which is a practice I am also deeply interested in. In both there is a dance that feels like a rhythmic discharge between the thought process that moves in the steady chugging of the mind into a sometimes fluid, sometimes halting passage between eye and hand. In painting, I’m not being too silly when I say it never ceases to surprise me when what materialises is the image or form of something other than the linearity and meaning of a text. Although painting is often positioned as pre-discursive, to me it can feel post-cognitive. The forms and gestures inscribed are gaping and yet closed in a sense that is more accurate of how thought presents itself. There is a link here with the flow of images that dominate what and how we ‘read’ online.

 

The materiality of paint and wax can therefore often feel incidental. But the notches and globs that arise because of a kind of thickness of intent are no less interesting because, in my practice especially, they develop from accidents – and then too, are followed like a thought.

 

 

Can you tell us a about the technique you’ve used in this body of work. Is there a conceptual function to this as well as aesthetic?

 

To me the ‘aesthetic’ properly speaking involves both the sensual and the conceptual, or what I see most appositely as an opposition between flesh and idea. The overuse or neglect of either provides arid ground for the experiential aspect of visual art, which I aim to intensify. In this body of work, the ‘flesh’ aspect is definitely reduced: it shows a repressively restrained use of texture and grey tonality. The flesh is gravid, resisting more fecund and abundant representations of embodiment popular in much contemporary painting practice. This does not work to make the conceptual function more concrete, but it does tend to stimulate a more focused conceptual reading – which is to say it influences a more purposeful interpretation.

 

But insofar as I take an interest in the aesthetic, it feels ethically obstructive or even violent to tell viewers what that purposeful interpretation might be. I think it suffices to say I feel deeply and emotionally implicated in the performative aspect of daily life and artistic practice: the play of hiding certain aspects of the self, while revealing others. We go about life as if the linguistic and objective ends are ready to hand, subject to their use-value. The aesthetic purpose of my painting in this instance is to complicate such directness. Literally on the border of private and public selves, my work attempts to reveal the concealedness of human activity as either the lack or artificiality of such clarity.

 

Jessica Webster "Murderer"Jessica Webster "Murderer"     Sequence 14, (clown dancing at a mirror)

 

The text that features in many of the pieces is raised like scar tissue and seems to undermine the image it’s responding to. In what ways do you intend these subtitles to be read?

 

Magritte said that ‘In a painting, words are the same substance as images,’ and precisely in this work the textual elements can be seen to take on a metaphorical and associative character, like scar tissue. Concurrently however, the subtitles are merely coincident to the screen grabs I made of the film I appropriated as a primary material and coloured surface. They are themselves primary translations reduced into an English ‘action’ language and as such, tend to read denotatively. As you mention, this seems to undermine a resemblance with the suggestively rich grounds of connotation provided by the more traditionally figurative painted surface. That conflict is intended to trigger the little stories we mentally construct in the raw experience of any moment, but which are nowhere visible in reality. The subtitles can be seen to mimic the inner voice which attempts to lend substance or meaning to vision but which if you pay attention to it, is quite infantile, concrete and dissonant. These ‘little stories’ then, de-authorise the painting as a gravitational centre of mystic knowledge, while they instigate further purpose in interpretation.

 

Jessica Webster "Murderer"     Detail Sequence 35, (you have no idea)

Jessica Webster "Murderer"  Detail Sequence 4 (Master, are the branches moving…?)

 

How is the viewer implicated in this body of work?

 

The viewer is implicated insofar as she is central. These days, it seems like Duchamp’s aphorism about the spectator being the locus of creative contribution is taken seriously by painters. Ironically, Duchamp made the statement at a time when painting was being heralded as having a singular claim to truth and inner knowledge apart from what the viewer might perceive. But now, so much of art practice has become a visual-accountancy program for a half-baked topic on social-activism initiated on Facebook. As I’ve noted above, there is something of violence in pronouncing on the ends or use-value of an interpretation, an amputation of possibilities only otherwise available if we maintain the white cube as a soft space of exploration for the viewer.

 

This is not to disavow the leading signals I’ve created and enforced in the course of the work. The artist cannot help being culpable of a certain violence in inserting herself into a public space, a public space somewhat doubled in violence by the multiple layers of privilege it accords just one individual’s expression. It makes me feel somewhat guilty and shameful, which has itself lent content to the work. But ultimately I want the work to invite the viewers into a space of work they can objectify on their own. The seductive and figurative elements of the paintings account for this desire of mine. Similarly, the proliferate and suggestively sequential form the installation takes are directed at staging a mise en scène in which the viewer is a main actor. This does not happen in any theme-park kind of way, but rather provokes a performative setting for both a physical and mental act of perception and reading, or the resolution and unravelling of both.

 

Jessica Webster "Murderer"     Sequence 30, (don’t matter anymore)

Jessica Webster "Murderer"     Sequence 45, (you can’t come this way sir)

Jessica Webster "Murderer"     Sequence 40, (lots of people have bad memories)

 

The interplay between the printed canvas and your superimposed painting create layers of representation, and possible readings. Is this a longstanding interest of yours and feature of your practice?

 

This is the first time I have deployed the technique of painting on digitally printed canvas. However, most of the work I have achieved up to date employs many levels of layering in paint and encaustic wax. Layers and the visible construction of layers are interesting because they create multiple articulated levels of surface and depth, while not strictly corresponding to either the flatness of abstraction or the illusionism of historical painting. The perpetual evasion of both manifest the circumstances of a fetishistic kind of looking, between and behind. Another effect of the layering is to emphasise the indeterminate nature of what is at hand in my choice of painted imagery. Amongst other motifs, many of the figures seem to be in some kind of performative absorption, but what their action is or will be is often uncertain. The nature scenes depicted too, seem to stage a manner of absorption within themselves, fundamentally closed off to explicit interaction with the viewer. For me this happens because the surface is obsessively engaged with its own grounds, constantly citing ‘itself’ as the support for meaning and interpretation.

 

Jessica Webster "Murderer"     Sequence 34, (Act II. Same time, same place’)

Jessica Webster "Murderer"     Sequence 20, (stripper I)

 

Please tell us how narrative and repetition figure in this exhibition and how the (South Korean) revenge cinema trope relates to this.

 

The South Korean aspect is less important than the fact the film made available such plain subtitles, which moreover pointed to an appropriation from an outside or foreign source. Similarly, I was in a sense ‘merely’ interested in the seductive patina and shimmering light offered by the digital printing of the film screengrabs. But the fact that the film had something to do with revenge and retribution felt like a good concrete starting point for a body of work centred on a fascination with hidden motivations and the underlying sense of threat or reprisal permeating most contemporary social and political discourses in South Africa.

 

But most of all, the prints provided a formal container or method by which I could maintain a consistency throughout the otherwise diverse imagery. The print image and the text as you mention instate the linearity of narrative, and this was important to how I could assert a strong contrast with a certain fragmentary sense of time charged in the images I selected to paint. If repetition occurs in the work it is by way of each work’s structure, a structure that is specific to each case but repeats an encoded kind of affect. This happens as noted in relation to the technical support, but also in other devices. For instance, my selection of images were based on quite banal, middle-class scenes, but I found in each something of the ‘pregnant moment’ pursued in 18th century painted tableaux. But it is something threateningly empty of reason that seems about to happen. A moment is crystallised in a hypnotic, fictional way – it is about to play out, rather than culminating in any real object. For me what gets repeated has something to do with what Roland Barthes calls the classical conditions of the ‘Cinema of a Society’: a ‘condition of vacancy, a want of occupation.’ The evident desire to benumb ourselves by all the ways popular culture has to offer represses and seals a wound it is difficult to express the nature of. One can only refer to its appearances and its effects, the way in which it glimmers forth in unexpectedly static moments.

 

Jessica Webster "Murderer"     Sequence 7, (no one can tell what is coming next)

Jessica Webster "Murderer"     Sequence 39, (It’s okay – Pool I)

Jessica Webster "Murderer"     Sequence 41, (It’s okay – Pool II)

Jessica Webster "Murderer"     Sequence 26, (memories that can never be erased)

Jessica Webster "Murderer"     Sequence 16, (‘The sound of a hole being ripped out of life’)

 

What is the significance of the parenthesis in the title?

 

It simply means that someone else said it, not me. As such, it calls the subject of the accusation into question.

 

 

“Murderer” is evidently a deeply personal body of work. How long were you working towards the show and has the process been cathartic in any way?

 

I started practical work on the show almost 2 years ago. However, these ideas about questions of sight and blindness, exposure and the perverse concealedness of things have been percolating for a much longer period. The responses to the show have been that viewers receive something authentic or as you say personal about the work, but it would be difficult for me to assert that inasmuch as I’ve been painfully aware of the performative dimensions of working towards a major solo show. It is not clear to me, in regards to that painful awareness and in consideration of various traumatic circumstances I’ve lived, whether it is catharsis that I want. I remain steeped in pools of anxiety and empathy, sadness and humour, bloody moods and fits of endearment for my background and experience, and being released of it – even if it were possible – seems like a lonely context from which to continue thinking and working.

 

 

What’s next for you?

 

I will finish my PhD and carry on painting. I’ll possibly continue exploring the features of digital reproduction but shift the frame of reference in order to decentre my ambitions; make life a bit more frustrating.

 

 

“Murderer” is on at Goodman Gallery Johannesburg until the 13th August 2015.

 

Jessica Webster "Murderer"Jessica Webster "Murderer"Jessica Webster "Murderer"     Sequence 23, The Deathproof Series

Jessica Webster "Murderer"     Sequence 21, (stripper II)

Jessica Webster "Murderer"     Sequence 31, (they’re worse than we are)

 

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