“Why is it a terrible battle scene like Picasso’s Guernica can be beautiful, while a painting of two unicorns kissing in a flower garden can look like crap. Does anybody really know why they like anything?” Quote of the day from the book: Diary – a Novel” I’m currently re-reading by Chuck Palahniuk.
And while I ponder this question, I know what I like and I know what some collectors like, but I don’t know why…maybe it is because of HOW it was documented? Should an artist worry about it, because our business is to create right?
What I do know and only realized later in my career is that one should take proper photographs of one’s work. (the above picture is a good example of how NOT to document your work circa 2014)- but at least I have some sort of documentation. I was always under the impression that a gallery does that for you, but since all the galleries I worked with in the past ask the artist for high res images of an artwork, I realized that I should up my game 😉
“The best practice is when the paper trail of an artwork can be traced from its current home back to the artist’s studio.” as quoted form the article below:
I am happy to announce that my work “Change of plans” have been selected to be part of this exciting group exhibition at the Jan Rupert Art Centre in Graaff-Reinet!
CHANGE OF PLANS
In response to the work by Michele Nigrini, I present to you a floral bouquet which consists out of individual flowers and objects (raging from a self-portrait as baby, to a portrait of my mother on her wedding day as well as a skull and the cosmos in the bust of a pregnant figure) embroidered in cotton and acrylic thread onto discarded inner tubes (rubber). These embroideries are then arranged and assembled into a bouquet.
Like Nigrini I was first and foremost inspired by toys and incorporated that for a long time in my art making, it is only much later that I turned my focus to botanicals. That is why I really responded to this quote found on your website:
Remember that a picture – before being a warhorse, a nude woman, or some anecdote – is essentially a plane surface covered with colours assembled in a certain order – Maurice Denis
And that is exactly what happened, the re-arrangement of embroidered to resemble order.
You will also notice that I often incorporate skulls or bones in my work, since they often have a moral purpose, and symbolize mortality and ephemerality and reminds us of the fleeting pleasures of life. Skulls also represent inner contemplation, eternity and life.
Flowers have not been a favourite subject matter for me until I realized the possibility of their meaning and because they reflect my interest in science and the natural world especially during this time of the pandemic. The title of the work refers to us being able to adapt to sudden changes and that it is okay to have a ‘Change of plan(s)”
The work depicts moments in time – capturing instances in which a non-traditional medium (in this case rubber) undergo a violent process of change. The juxtaposition of delicate cotton thread with industrial discarded inner tubes are highlighted by embroidering items that can decay, such as flowers and flesh, with moments of violent disruption. The resulting organized chaos resembles our daily lives and external influences.
“A change of plans” along with others will be in conversation with “Colour Sympony by Michele Nigrini: You can read more about it here:
We visited my Mother-in-law in celebration of her birthday this past weekend- and here she is with her grandchildren:
At her birthday party one of her friends Tienie Potgieter asked me about my art and current intrests. I told her about my recent work and then she offered me a box full of vintage photographs including Cabinet cards!!
I could not believe my luck!
CABINET CARDS: A style of photograph first introduced in 1863 by Windsor & Bridge in London, the cabinet card is a photographic print mounted on card stock. The Cabinet card got its name from its suitability for display in parlors — especially in cabinets — and was a popular medium for family portraits.
So while I am in the process of working through each and every one….finding inspiration, I am also scanning them to create a virtual file- and while I’m at it , I thought I will share a couple with you!
A friend and fellow artist (who also teaches art at school level) asked me to be interviewed for her new channel/series about South African Artists, which she started recently, to encourage her learners to connect with other artists who are not yet written about in the syllabus. I am looking forward to see how this series develops, and I am honoured to be part of this journey!
“When these children learn about your process, inspiration, and the intentions of your art, they learn to make better art and they deepen their appreciation for what you do. This effort serves to develop our heritage and it certainly creates legacy. You were inspired by artists to do what you do now and those artists that inspired you became cultural icons because they became cannon through being part of the educational curriculum. This process now continues with you.“
How cool is that.
Anyway without further adieu:
if you have any advice for future interviews, feel free to let me know what you think….