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Inge Beckmann

Inge Beckmann’s First Solo Exhibition “Uilien” is a Tender Homage to the Elementals

Inge Beckmann is a versatile artist, who first caught the public’s attention as the front woman of Lark and has since been part of other bands such as Beast, The Closet Snare and The Spindle Sect. She’s a consummate vocalist and musician, who fearlessly immerses herself in each performance and whose omnipotent presence is always matched by impressive and soaring vocals. Uilien, her first solo exhibition at the MUTI Gallery, presents her in a different light from the energetic onstage persona we’re familiar with at frenzied gigs and music festivals. 

Candles burn at the entrance and the percussive soundscape creates a shamanistic ambiance of a sacred temple. At the opening, Inge wore a long black floor-length dress, brogues and elegantly greeted guests with the grace of an ancient goddess. Inspired by her relationship with nature and the humbling effect the natural elements have on human life, she collaborated with photographer, Gusto Bussab, to create a series of five portraits evoking mysterious nature spirits. Each mask is deeply personal and constructed from materials found in the Cape Peninsula such as stone, bark, pods and sea shells. 

She views Uilien as an alter of gratitude for guiding her through deaths and transformations. It’s a public tribute to the elements and the invigorating effect they have had in shaping her own creativity. “This exhibition was inspired by my relationship with the Elementals and a deep desire to share and acknowledge their humble teachings with the hope to encourage others to nature gaze through mediums of natural art, photography, sound sculpture and scent”, Inge remarks . 

Uilien explores the mysterious link between the earth and human spirit. As an artist, Inge reveals a tenderness less evident in her raw onstage performances. Each piece from the collection is a personal treasure prompting us to contemplate simple pleasures; that we can find harmony in life without worshiping the veneer of gold-plated materialism, where consumption is a religion and we’ve lost touch with the joy of appreciating natural phenomenons.

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