HANNA

CONTEMPORARY ART

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EKPHRASIS - MITCHELL’S TUT

Nighthawks Edward Hopper 

1942

Oil on canvas

After a night out at dinner, the newly-wed couple decide on a nightcap to compensate for their already mundane and boring lives. John is an accountant and Lisa just kind of waits around I guess. Their names are especially boring. It was the beginning of spring and Lisa has waited all winter to wear her favourite (not John’s, John doesn’t like much in general) red dress. The man across from them at the bar looked distracted and exhausted - much like John and Lisa’s relationship as of recent.

Lisa’s family has recently requested that John and Lisa spend a bit of summer at them; up in the countryside. Of course, like most things, John does not like this. “I don’t want to spend the entire summer there” he says, indifferent with a hint of desperation. Their drinks arrive. All Lisa wants to do is throw her drink at John as an attempt to WAKE HIM UP and notice her red fucking dress. She also does not want to upset him as she’d like to purchase a pricey concealer as hers is nearing to its end; due to her triple-layering her under-eye and this is because of her lack of sleep. John lights a cigarette - Lisa doesn’t mind this, if anything she could smoke all night as this point. John obviously does not like it when Lisa smokes, as he thinks it is “unladylike” and doesn’t enjoy the lingering smell on her red dress which he never notices. The bartender gleans the uneasiness between them, actually the uneasiness in general… the air is warm and the fluorescent light beaming down. It is a Tuesday evening, typically quiet. The man across the bar orders his third drink; John notices and thinks “mood”.

“But we have never spend summer in the countryside” Lisa replies, with a heavy hint of desperation. “In actual fact, we have never spent a summer together. We have been married for four months, and saw my family last at the wedding.” Lisa is sad - she has been sad for a while now. She drinks her drink cautiously, holding back the insistent and urgent lump in her throat and avoiding eye contact with John (not that he looks at her much anyway). John takes a while to respond to this and takes a large sip of his drink. “Lisa,” he slowly says. Lisa finds it extremely difficult to hold back that lump in her throat now. “I just don’t think I want to spend so much time away from work, darling… you know the rush in summer.” Lisa takes a large gulp of her drink and submissively, for the sake of concluding this mind-aching conversation, responds: “I understand,” the only two words she ever seems to fucking say. “I will tell them we will not be coming” she finally lets out.

John excuses himself for the restroom. They are both relieved. The man across the bar looks up slightly, and catches Lisa’s sad eyes. He is not bad, she thinks. She soon finds a smile creeping across her warm face and subsequently finds herself walking over to this stranger. He is calm, as if to expect this. Completely organically, Lisa says, “do you want to go out and dance with me?” the man is taken aback, but responds with a polite nod followed by a cute chuckle. Lisa immediately feels a wave of fresh, long-lost excitement run through her.

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Music Videos as a space for Identity construction - Joshua’s tut

Riyadh Roberts, aka YoungstaCPT’s Young Van Riebeeck (YVR) is a profound cultural product dealing and grappling with a very particular identity; one that is directly “derived” from the specific geographical space and history. Both the audio and video possess narratives centered around complex identity, power and cultural structures. The lyrics in this song speak directly to the history of colonialism and imperial power within a South African context; referencing both the British and Dutch rule in South Africa and Cape Town specifically. The video seems to subvert this via the use of visual signifiers of this rule by claiming dress, objects and power systems.

This video is especially striking due to its framing of Cape Town within a slavery context: extremely provocative, this video reiterates the incomprehensible reality of slavery as we live in contemporary Cape Town. Roberts uses particular landmarks and landscape in the video such as Table Mountain and the West Coast as iconic symbols of geography and space. There is a pastiche of dress and symbols of a particular time era within the context of power and control: there is use of crowns, guns/warfare, traditional British and Dutch soldier dressing etc. Furthermore, there is an evident reference to religion and culture construction as Roberts is dressed in traditional Islamic wear along with other figures in the video. This reinforces the complexities of identity and how it is constructed through gaze and power and furthermore imposed. There is a sense of imperialism through the scenes of the three soldiers “mapping” Cape Town - the idea of cartography as an imperial device for power and control, as well as the scenes with the boat and figures representing slaves. The fusion of Islam and Cape Town alludes to the idea of the “Cape Malay” - which emphasises the history of identity-construction. It also speaks to racialising of people during apartheid and the imposed, extremely homogeneous and generalised  term “coloured”.

This video speaks to these issues via a hip-hop lens; with feelings of masculinity.

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MITCHELL MESSINA TUT ASSIGNMENT

Tracey Rose

Ciao Bella, 2001

Dan Gunn

Rear projection colour triptych with stereo audio speakers 

Miami Beach 2014

Tracey Rose is a Durban-born artist who holds a Master of Fine Art from Goldsmiths College, University of London and a B.A. in Fine Arts from the University of the Witwatersrand. Rose’s oeuvre grapples with identity and its complex intersections such as gender and race. Rose’s practice includes video installations and photography, but she is mostly known for her performance art. Rose is also known for ‘insertion’ a notion explained by writer and critic Salah Hassan as a complex manner in which an artist inserts their body into a work of art, embracing multiple layers of meaning inherent in the world. Rose’s insertion and inclusion of her body in conjunction with the technique of performative art and performativity becomes a language seen as a paradigm  within Roses’ practice.

Rose presented Ciao Bella (2001) at the 49th Venice Biennale is an exhibition that takes shape around a series of large-scale photographs and a triple-screen DVD video projection. This work is a 13 minute feminist parody of  Leonardo Da Vinci’s Last Supper (1495–8) in which she played 12 female “apostles”. This work was perceived as simultaneously necessary and subversive. The photographs seek to present to the audience a series of feminine archetypes; versions of womanhood that range from Lolita to the oppressed figure of Saartjie Baartman, the nun, and the stereotypical suburban mother figure standing at the gates to her Parktown mansion, among others.

Rose inserts herself into these various historically symbolic and characteristic roles; as an intended intervention to subvert the very construction of these characters via popular culture and a specific position(s) of power as well as gazes (Hegemony) which situated these archetypes. Rose in turn embodies these constructed characters through dress and gesture and therefore uses her body as a medium to transforming into these various figures. This essentially speaks to oppression in multiple facets; racial, sexual and political - it underlines systems of various global hegemonic power structures and the cultural and social products they construct. Ciao Bella also highlights the fact that these constructed figures of ‘womanhood’ are in fact fractured and distorted; which ultimately feeds into the broader social construction and historical trajectory of the ideologies underpinning women and ‘femininity’. Rose seeks to subvert this by reclaiming these fractured representations of ‘womanhood’ intersectionally: choosing figures which emerge from multiple socio-political and cultural narratives and histories. The title also extends this commentary through the use of certain vernacular; “Ciao Bella”, a colloquial Italian expression  meaning "goodbye (or hello), beautiful” - which reinforces this fractured idea of womanhood and ideological ‘beauty’ (“beautiful”) as well as the imposed ideal of ‘beauty’, objectification of femme bodies and catcalling.

Rose attempts not only to highlight these mentioned issues, but to subvert them by reclaiming and embodying the implied ideas via her physical self and body. She effectively does this via the technique of performativity as well as dress and character-formation. This work speaks to a broad, global issue, not just pertaining to a particular geographical space.

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JOSHUA WILLIAMS TUT ASSIGNMENT

1. PUBLIC TRANSPORT

2. ADVERTISEMENTS 

3. SPORTS EVENTS AND STADIUMS

The notion of national, provincial and regional sports teams all hold their own individual weight in terms of being linchpins in representing an idea, or ideas of a geographical space. Sports teams are a coming-together of - more so now than in the past - different people. They form an alliance (national sports teams particularly), and essentially stand as a pure, reflective representation of a country.

There is a profound sense of ‘nationalism’, culture and identity formed  in these spaces in conjunction with the public presence, as well as the singing of the national anthem. Sports teams represent a country; a sort of embodiment of a country, patriotism and solidarity - even if this is not the actual or true reality. Hence, it stands as a distortion of nationalist sentiment and homogenises nationalism via sports teams.

1995 Rugby World Cup

2010 FIFA World Cup

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CULTURAL APPROPIATION: A ROUNDTABLE

“In pop culture, appropriation never becomes controversial until the performer who’s doing it becomes popular or successful”

1. Above is an excerpt from the article and it got me thinking of an alternative reality and questioning the power of the mass propagation via pop culture.  A question of morality emerges: say for instance, my friend or somebody I know is evidently appropriating a culture - they plan to host an “Egyptian-themed party” for example. Is it a matter of mass-awareness’ (pop culture’s/social media’s (in this case)) prerogative to make the perpetrator of appropriation aware via a collected group of people knowing about the issues surrounding the party?

I know that this individual does not belong to that culture and are essentially feeding off exoticised stereotypes; particularly through dress. Hence,I believe that I being aware of the problems with this, should call them out and explain the issues around it. It should not have to get to the point of Pop Culture or any mass-consuming platform causing awareness. Albeit on the other hand, what if there is nobody on a micro-scale aware of the issues and therefore nobody to challenge the person and their Egyptian-themed party?

2. I think a broader, more philosophical question regarding the notion of cultural appropriation / translation is the question around continual / prospective preservation and definition: as time goes on and different global cultures shift and develop essentialist or merely cultural practices over time - how would these be known as distinct and proprietorial to a specific culture and hence; ethically wrong to appropriate or translate? Especially with the contemporary world with social media and rapid communication and globalisation and the rapid communication and propagation of stuff. Is it a matter of a social or power-structure decision?

3. A question which was asked in the article is one that grabbed my attention was: “There are so many videos where you’re just like, ‘How the fuck did this happen? Who saw this and thought it was a good idea?” They’re part of a media machine that exists to generate revenue, but still, you’d think there would be at least nominal checks and balances, someone to say, “Maybe don’t touch that.”

This was quite an eye-opening corroboration of the reality within the entertainment industry; this statement particularly looked at Katy Perry and Taylor Swift as pop stars who have appropiated cultures via their cultural products such as music videos.How are these actions condoned, especially with such prominent figures in pop culture?  Are there no people involved in these processes to call out these major faults?

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RELATIONAL AESTHETICS TASK

1. RIRKIT TIRAVANIJA

’http://www.gavinbrown.biz/artists/rirkrit_tiravanija/works

https://za.pinterest.com/pin/55521007884484853/

Rirkit Tiravanija

untitled (pad thai)

Paula Allen Gallery, New York

Mixed Media

1990

Artist Rirkit Tiravanija organised a dinner in a collector’s home, and leaves him all the ingredients to make a Thai soup. This work extended into a multitude of different spaces; albeit particularly aimed at traditional exhibition spaces.

Tiravanija describes the first instance of this participatory art practice: he had used a recipe from a western recipe book which included the ingredient ketchup. Tiravanija explains that this is a commentary on colonial history and the Western Gaze on the world and a the centre; or a point of reference.

2. PHILIPPE PARRENO

MAGAZINE ARTICLE

Artforum International

“Philippe Parreno”

By Verzotti, Giorgio

https://www.questia.com/magazine/1G1-17866000/philippe-parreno

Philippe Parreno invited a few people to pursue their favourite hobbies on May Day, on a factory assembly line. “For his recent project, Philippe Parreno asked his dealers to invite friends and acquaintances to spend all of May Day working in the gallery. The room contained various tools: projectors, a screen, an ironing board and an iron, pieces of fabric and a sewing machine, a large quantity of small T-shirts, electrical materials, two video cameras, two circular tables, and a series of plush teddy bears. The artist asked those present to complete certain tasks, such as stamping the words "My first secret, on the small T-shirts and putting these shirts on the teddy bears, or making a gigantic T-shirt in which up to five people could fit, while videotaping the activities of all the participants. The activities ceased at the end of the day. In a final touch, three days later, the windows were sealed with black cardboard for the duration of the exhibition.

This first phase of the collective labor, which consisted of actually constructing the work shown in the gallery, was followed by the reception phase, during which the public could enter the darkened room to view the videotape of the activities, the Teddy Bears pieced on the tables, and the large T-shirt stretched cut and hung on a clothesline. Because it was designed in this way, Parreno's project also contained elements of the unexpected, which became integral to his piece. The teddy bears turned out to be stuffed animals of the "My First Secret Teddy Bear" variety, which are designed to record the voices of the children who speak to them, a recording that can be accessed by depressing one of the bears, paws. But in this case, the teddy bears played back fragments of conversations and background noise that had inadvertently been taped by the Korean workers who had manufactured them.”

3. VANESSA BEECROFT

Artist Vanessa Beecroft dressed some 20 women in the same way, complete with a red wig, and the visitor merely gets a glimpse of them through the doorway.

“The child of a British father and an Italian mother, Beecroft was raised by her mother after her parents divorced when she was three. As an atheist, radical and single mother, her mother was treated as an outsider in a small Italian town full of faithful Catholics. Suffering from an obsession with food, Beecroft kept a diary of everything she ate for 10 years until 1993. That was what her first performance “VB1” in Milan in 1993 was about. She placed her food diary in the middle of a gallery and had 30 women friends from art college and girls found on the streets of Milan circle around it, dressed in her own clothes.”

Vanessa Beecroft

VB43

Gagosian Gallery (London)

2000

http://english.chosun.com/site/data/html_dir/2007/02/27/2007022761021.html (text)

http://www.people.vcu.edu/~djbromle/modern-art/02/Life-and-Art-of-Vanessa-Beecroft/index.htm (image)

4. MAURIZIO CATTELAN

Artist Maurizio Cattelan feeds rats on “Bel paese” cheese and sells them as multiples or exhibits recently robbed safes.

Maurizio Cattelan

I found my love in Portofino 

1994 

(Cheese, rats, plexiglass) 

60 x 160 x 150cm - L'Hiver de l'Amour / The Winter of Love , P.S.1 Museum, New York

https://za.pinterest.com/pin/412009065891389371/

5. JES BRINCH AND HENRIK PLENGE JACOBSEN

As a collaboration, these artists installed an upturned bus that causes a rival riot in the city.

Smashed Parking

Jes Brinch and Henrik Plenge Jakobsen

Wonderful Copenhagen, Temporary public art project, Kongens Nytorv, Copenhagen, Denmark, 1994

Cars, city bus, caravan

2000 x 1000 x 300 cm

Photo: Dorthe Krogh

“Note: The work was made for a summer festival for art in public spaces in 1994 called Art in the City and arranged by the Municipality of Copenhagen and the tourist organisation Wonderful Copenhagen. The work consisted of 18 cars, one caravan, and a public bus placed on Kongens Nytorv, which is traditionally considered to be Copenhagen's most beautiful square because of its classical architecture – the Royal Theatre and the Royal Danish Academy of Art. The exhibition was scheduled to run for three months but it was only on display for four days, from June 15 to June 21. The work was placed on a parking lot in front of Hotel D´Angleterre, a former parking area that had been recreated especially for this event. The work was meant to give the impression that a mad crowd had gone berserk and smashed a public parking lot. Therefore the cars had been worked over with heavy steel tubes. One of the cars had been pushed over onto its side, another was turned upside down, others were still standing on all four wheels. The work included a caravan that had been totally destroyed. The most conspicuous element of the project was the city bus, number 31, which was sited to give the impression that it had been dragged from the nearest bus stop, and overturned during the riot.”

http://www.henrikplengejakobsen.net/sider/works/99_92/parking.html (text)

https://artmap.com/henrikplengejakobsen#_l4x6b (image)

6. CHRISTINE HILL

Artist Christine Hill worked as check-out assistant in a supermarket, organises a weekly gym workshop in a gallery.

Organizational Venture + Walking Tour Agency New York. Produced by Public Art Fund in collaboration with Deitch Projects.

https://za.pinterest.com/pin/412009065891389585/ 

7. CARSTEN HOLLER

Recreates the chemical formula of molecules secreted by the human brain when in love, builds an inflatable yacht, and breeds chaffinches with the aim of teaching them a new song.

https://za.pinterest.com/pin/412009065891389704/

8. NORITOSHI HIRAKAWA

Artist Noritoshi Hirakawa puts small ad in a newspaper to find a girl to take part in his show.

Black and white photograph mounted on card, framed, signed and numbered 1/4

58,5 x 79 cm

https://za.pinterest.com/pin/412009065891389878/

9. PIERRE HUYGHE

Summons people to a casting session, makes a TV transmitter available to the public, and puts a photograph of labourers at work on view a few yards from the building site.

https://za.pinterest.com/pin/412009065891389926/

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HOMEWORK TASK FOR BELLA’S TUTORIAL

Dina Matar

The Wedding Night

125 x 200 cm

Oil on Canvas

2014

Dina Matar was born in Gaza in 1985 and graduated with a Bachelor Degree in Art Education from Al Aqsa University in Gaza, 2007. I chose Matar as my artist of choice as she works with the notion of remains and memory after destruction. In this case, the brutal war in Palestine and what remains and prevails throughout such decimation.

The Wedding Night seeks to unpack the cultural heritage and customs that come with it in Palestinian society - which has either prevailed or been repressed. This work looks at the event and ritual of the wedding ceremony; with the traditional activity such a henna, adornments, flowers and music. It creates and conveys a strong sense of both hope and sorrow, despair and longing via a bold use of provocative colour and stylised figures. It almost captures a sense of utopia and unattainability as well. I find Matar and her work to fit into this idea of the artist in solidarity and she attempts to subvert the power of war and remind people of home and their lives. It holds a very gentle and sweet evocation yet speaks to a much larger, more sinister reality at the same time. To me, the artist is asks “when will we experience this again?”

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HOMEWORK TASK FOR CHRIS’ TUTORIAL

POSITIVES FOR ICTAF

- After-parties

- Creates jobs

- Exposure for artists particularly those from minorities

- Creates a union of people from all over the world incl. children

- Overall celebration of art

- Annual update on the art-world climate 

- Female-only body of staff organising the fair 

- Cool books on sale

NEGATIVE

- Very labourious; workers experienced long hours in a short space of time to make the art fair happen essentially. Albeit they do not benefit from the intent of the fair 

- Overt and obvious feeling of white hegemony and capitalism/wealth coming thruuuu

- Would’ve liked to have seen more installation pieces 

- Some very rude people to deal with from overseas; very entitled and uncouth

- Exclusivity underpinning 

Tabita Rezaire

Goodman Gallery

Keith Henning

Dick Lamp

Bad Paper booth

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RIP! A REMIX MANIFESTO

1. Why are certain platforms for knowledge made inaccessible to everybody and some accessible, and why should the public pay for it?

This documentary got me thinking more about knowledge and its accessibility, distribution and the places it exists in. If I think of online archives (JSTOR, EBSCOhost) SPECIFICALLY, and the fact that one has to pay to access the rich knowledge on these platforms, it parallels with the notion around the public domain articulated in the documentary. I suppose that buying books in terms of the intention around knowledge-gain makes sense to me as it financially supports the people who have invested time into research etc; and libraries offer to the public this knowledge too. But it becomes a bit twisted when one thinks of the exclusivity of knowledge: why are certain spaces of knowledge made private? massive online database of essays, books and various researched-material becomes cut off to the public unless one pays for it. Is it a private domain established privately and therefore require funding via membership system? 

2. Is Pirating morally bad? 

So why should we pay for knowledge or cultural products when we can just pirate/illegally access it? I do not think that Piracy is amoral issue: I think the problem lies heavily with the reason why Piracy exists in the first place.  The thing is, even though I can afford to buy a song for R20, why should I when I could just get it for free? 

3. What influence/relevance does the notions articulated in the documentary have in art-making?

The documentary touched on the concept on many Postmodern concepts. This made me think of the avenues in which these ideas are attempting to communicate through. Culture Jamming stood out for me the most: I only became aware of metanarratives and the  bigger picture of living within Postmodern world (and what Postmodernism is) when I entered university two years ago, yet this documentary was made plus-minus 10 years ago which was quite eye-opening for me; I (my mind) am only now aware of how long these channels of critique have been occurring for in terms of Artists / Art / The Art World. I had no idea about artists using these narratives in art-making and I’m happy to be knowledgeable and delved deep in learning more about this f*cked up Postmodern world

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CHRIS’ INTERVIEW QUESTIONS

• Do you consider yourself an artist at this point? If not, why? 

I do not consider myself an artist (yet) - I more consider myself an individual involved in academia and practice surrounding it so yeah I guess I actually am an artist. But I think the reason why I wouldn’t proclaim that title is because it comes with certain connotations to me personally and these are often cringe-y. But I want to move past that ideology and just call myself an ARTIST!

• Why do you make art?

Because it channels the mental to the physical for me; it is in its purest form something that makes me wake up in the morning. It allows me to think, negotiate and make decisions which is particularly cathartic for me. I do it because it makes me feel good very, very deeply.

• What media do you prefer and why?

I prefer objects that carry their own figurative weight and playing around with their different characteristics and qualities. By objects I mean pieces of wood, string, perspex, glass, clay, polystyrene and this also extends into  more day-to-day functional materials such as straws, spices fabric, clothes and candles.

• What ideas, themes and frameworks currently most interest you? 

Identity for the most part but I also do like narratives such as specific historical and contemporary anecdotes and stories. Albeit I mostly have materials in mind before any conceptual fleshing-out

• What are a conceptual and a practical aspect of your practice that you are currently struggling with? 

I think maybe being consistent in making as much as I research and read. Maybe that is why I won’t call myself an artist... but I know I am always daydreaming and thinking imaginatively at least. I don’t think I am struggling actually; this question made me think  that I am struggling but I am not. I am doing good and things are flowing out of me pretty well as of recent.

• You’re given a R10 000 budget to make a work. What would you make?

A whole fridge filled with various dairy products made from material one which comments on consuming and digesting Whiteness via these products (extension and continuation of my 2018 Rowan Smith Studio Practice project: White Arsehole).

• What advice would you give someone that wants to study art?

I would tell them to work very very hard and and party very hard

• Do you have anything else that you would like to voice?

Too much!

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Simphiwe Ndzube

In Search of the Sacred Stone

2018

Acrylic, spray paint and collage on linen

200 x 200cm

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HOMEWORK TASK FOR ROWAN’S TUTORIAL

The visit to the galleries was both exciting and difficult or me - exciting because there were three artists of colour exhibiting and difficult because it was thirty-five degrees outside. Also, probably like most other people, I find it particularly strenuous mentally to engage with gallery spaces and the exhibition(s) with many people around whilst simultaneously keeping the assigned questions in mind. However, with reflection and retrospective, I have somewhat  drawn conclusive ideas/feelz/thoughts about the three shows.

Going into each of the spaces: I was vaguely aware of Simphiwe Ndzube’s oeuvre/previous work. Ndzube’s show is called Uncharted Lands and Trackless Seas at Stevenson. I knew Bronwyn Katz at blank projects merely by name and did not know anything about the artist Nolan Oswald Dennis’ show, Options, at Goodman. We arrived at blank projects first to see Bronwyn Katz’ show called  / // ! ǂ  which denotes four selected click consonants from Khoekhoe and other Southern African languages.

Bronwyn Katz, x (2019) | Steel wool, cardboard, audio; dimensions variable (153 cm height)

link to audio: https://soundcloud.com/blank-projects/x-1/s-Q93HV

My feelings about this show, especially after the tut discussion, is centered around the visceral qualities that the works possessed - they all had a certain delicateness about them albeit made from more hardy or industrial / raw materials which was a relationship I enjoyed engaging with. Coupled with this was the corporeality of the works which I personally gleaned from looking at the works more and more. I absolutely loved the choice of materials in relation to the conceptual underpinning intended for the exhibition. The addition of sonic devices throughout the show elevated the space especially because the space is physically vast and speaks to the title of the show,  / // ! ǂ,  as Katz explores the disappearance of the Khoekhoe vernacular in South Africa due to colonisation and furthermore via these works, communicates the fictional development of  a new system of notation to signify the phonetics of an imagined creole language.

We then headed Goodman Gallery to see artist Nolan Oswald Dennis’ show Options. Oswald Dennis’ practice explores what he calls ‘a black consciousness of space’: the material and metaphysical conditions of decolonization. My response to this show was more emotional as the gallery space was transformed into a more dynamically lit and painted one; which added to and enhanced the underlying messages and narrative of the show profoundly. The notions of mapping and cartography was a prevalent theme throughout, which was interesting to navigate in terms of a fictitious narrative underpinning the works. It provoked new ideas and conversation in me and the emergence of possible realities that exist alternatively. The work encompasses the very long-drawn history of Western power and hegemony in the formation of our world today via global desire for expansion (colonisation).

Installation picture [Nolan Oswald Dennis / Options / 2019]

Lastly, and my most favourite, we headed to Stevenson for Simphiwe Ndzube’s show Uncharted Land and Trackless Seas which was a beautiful show for me. The curation and transformation of the space spoke to me and ignited new ideas in my head regarding space especially in relation to people as individuals who engage with the space (ultimately). This work spoke a lot to the previous two in terms of the notion of fictitious narratives and imagined trajectories that “could’ve been” or “can be”. I enjoyed the dark playfulness and uniqueness of the creation of a world and the choice of colours and tropes. The use of physical materials added profound visual dynamism and intricacies to the paintings. I enjoyed the challenge of navigating oneself physically through the space.

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Flags 🇿🇦

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Expanded painting