NIROXsculpture | Winter, 2014 | Indoor Vol II

NIROXsculpture | WINTER2014
VOLU ME 0 2 | I ND OO R
NSW2014
NIROX FOUNDATION TRUST
CURATOR:
mary-jane darroll
garreth van niekerk (assistant curator)
rudi le hane (assistant curator)
ACKNOWLEDGMENTS:
all photographers and writers | artlogic | bag factory | blend
property group | bronze age | caleo wealth management
columba leadership | commune 1 | dsw studio | embassy of spain
gallery momo | garreth van niekerk | gifa | goodman gallery | lebo
mashigo | management authority - cradle of humankind
mastercard | michaelis | ppc cement | retail africa | rudi
le hane | slowtracksociety | stephan du toit | susan greig
cooking school | tammy du toit | uj | wanas konst | whatiftheworld
wits | workhorse bronze foundry | yorkshire sculpture park
CATALOGUE LAYOUT AND DESIGN:
neil nieuwoudt | mary-jane darroll
MEDIA HIGHLIGHTS:
The South African Art Times
Nirox Sculpture | The Winter Sculpture Fair | 1 April 2014
Beeld, Kuns
Wintermark met beeldhoukuns | 30 April 2014
Pretoria News
A treat for all your senses | 2 May 2014
Mail & Guardian
Nature nurtures Cradle’s art | 2 May 2014
Sunday Times, Home Weekly
Art in the park | 4 May 2014
The Times
Coming to a park near you | 6 May 2014
Saturday Star
Head through the grapevine | 10 May 2014
Saturday Star
The structure of thoughts | 10 May 2014
Pretoria News Weekend
Pick of sculptors | 10 May 2014
The Citizen, City
Go figure | 15 May 2014
Sunday Times
Sculpture Vultures | 18 May 2014
NSW2014
CONTENTS
AN OVERVIEW | Medeine Tribinevicius
THE BIRDS, THE DOGS AND THE WILD ONES | Ann-Marie Tully
THINKING WITH THE HANDS | Matthew Partridge
THE CURATOR’S NOTE | Mary-Jane Darroll
MAAIKE BAKKER | SEAN BLEM | CONRAD BOTES | JONI BRENNER | WILLEM BOSHOFF
CARLA BUSUTTIL MARCO CIANFANELLI | FREDERICK CLARKE | HANNELIE COETZEE
STEVEN DELPORT | MICHAEL ELION | STEPHAN ERASMUS | GUY DU TOIT | GORDON
FROUD | RICHARD FORBES | ANSIE GREYLING | LIZA GROBLER COBUS HAUPT | DAYA
HELLER | MANDY JOHNSTON | KKW FOUNDATION [BETH ARMSTRONG] | JOP
KUNNEKE | BRONWYN LACE | JEAN PAUL LEMMER | ALIZA LEVI | KIM LIEBERMAN
RHETT MARTYN | MARCUS NEUSTETTER | SIPHO MABONA | COLLEN MASWANGANYI
JOHANNES MASWANGANYI | MICHELE MATHISON
DANIELA
PAT MAUTLOA | LEDELLE MOE
MOONEY | LWANDISO NJARA | JOHANN NORTJE | CAMERON PLATTER
ISHKAR RICHARD | BRETT RUBIN | JOACHIM SCHONFELDT | MOLLY STEVEN | JAKE
SINGER | DOREEN SOUTHWOOD | RINA STUTZER | CHRIS SWIFT | ANGUS TAYLOR
NICOLA TAYLOR | JOHAN THOM | STRIJDOM VAN DER MERWE | FRANK VAN REENEN
JEREMY ROSE | ANN-MARIE TULLY | BERCO WILSENACH | COLLEEN WINTER | GAVIN
YOUNGE | SIMON ZITHA
AN OVE RV I E W | M e dei n e Tr i b i n e v i ci u s
Welcome to Nirox Sculpture Winter 2014. Judging from the breadth and scope of artists represented you wouldn’t be remiss in
thinking that the show is older than its two years. Installed on NIROX’s 15 hectares of pristine greenery, nestled in the stunning surrounds
of the Cradle of Humankind, this year’s iteration of what is fast becoming South Africa’s premier sculpture event is what curator MaryJane Darroll describes as an exhibition with a simple agenda: “The aim is to show the very best of sculpture in South Africa.” And with
nearly 60 artists showing close to 100 works, it certainly hits its mark. One thing that sculpture in South Africa does very well is respond
to the environment and this being an outdoor show, there are many works that speak directly to the land. From the urban concrete and
steel tree-hugging works of Jake Singer to the movement filled landscape interventions of Brett Rubins photo sculptures, the theme of
landscape is interrogated from all angles.
Richard Forbes uses a locally sourced material—South African marble—to construct spires and monoliths that are remarkably airy and
light. Similarly Angus Taylor works with materials drawn from the landscape, in this case an enormous male figure made of rammed
earth. Kim Lieberman’s “Tutto”, a steel frame holding delicate lacework whose suspended figures and forms seem to inhabit the
landscape around them while at the same time forming an intimate world of their own. Collen Maswanganyi “Wild, Loud” inhabits the
natural landscape of the Cradle of Humankind and gestures to the tradition of human interaction with the landscape.
As is expected of art made in a country as politically complex as this one, many of the works in this exhibition take on contemporary
social and cultural themes. Zimbabwe-born Michele Mathison’s tent installation “Refuge–” is a commentary on the 2008 xenophobic
violence in various communities in South Africa. Jeremy Rose’s “Mandela Cell” is a subtle parsing of a topic that has seen its fair share
of analysis and misuse over the past year. Gavin Younge’s “Mine Dump” references his installation on the Champs Elysees in Paris (2000)
that looked at the transient lives of migrant workers. NIROX is very hand’s on when it comes to cultivating talent and there are several
artists whose works are continuations of projects started either in residence at the sculpture park (NIROX regularly hosts artists in their
residency space) or at shows hosted at the NIROX projects gallery in Maboneng. Stephan Erasmus’ reinterprets wooden “word” sculptures
he showed earlier this year at NIROX projects. And Ansie Greyling’s buried dolos’s are a compelling continuation from work she created
in residence as well as her works in last year’s exhibition. This is but a brief overview of some of the highlights of this year’s exhibition.
If you take the time to wander the paths and lawns of the NIROX grounds and you’ll discover many more gems of South African sculpture.
Medeine Tribinevicius is a writer, editor, and curator who commutes between Toronto and Johannesburg.
TH E BIRD S , T H E D OGS A N D TH E W IL D O N ES | A n n -M ar ie Tu l l y
… what if the souls of all those fragile little forgotten birds were to be given the proper respect, would we then have to live
any differently than we do
currently? — Johann Nortje
One day, early in the morning I gave my dog, Bova a bone, but the neighbourhood cat called Sunrise came and tried to steal
the bone from my Bova. The drama started when Bova chased the cat everywhere. It went to the neighbours and they started
to shout and we all watched the fight between
the dog and the cat. The cat never came back again. — Simon Zitha
When I visited the Nirox sculpture park in Krugersdorp one thing that came to mind was the quietness of the place and the only
sound I could hear was the sound of flowing water and whistling of birds. …. I remember when we use to call one another from
the top of our voices … we believed that the streams and bushes helped with the echoing of the sound just like the loud speaker.
So I imagined in a place like NIROX, a loud speaker will be very loud and a person using it will be wild. So coming to the issue of
wild, I feel that people who are wild are strange, they are open, and they are so expressive and they have no secrets. I am going
to make a sculpture of a man holding a loud speaker as if he is calling another person from a distance or addressing a crowd. On
the loud speaker I will engrave words that I think are of the wild nature of people. — Collen Maswanganyi
TH E B I R D S
The NIROX sculpture park is as Collen Maswanganyi observes in his artists statement, home to a myriad of bird species; a fact that is
reflected in a number of bird-oriented sculptural works on this year’s NIROX Winter Sculpture Exhibition — birds of a feather. That
being said, these ‘unfeathered friends’ bely pastoral notions of birds in song; instead challenging the viewer’s perception of the creature
‘bird’ and the rhetoric of birds, through material, scale, and conceptual devices. Johann Nortje’s floating funerary installations of dead
sparrows, call on the viewer to question the humanist notion that human life trumps all. On a related but more figurative note, Colleen
Winter’s installation of melting ice crows, entitled Cycles (beginning/destination) gestures to the temporality of all life. Sticking with
crows and themes of mortality and temporality, Rina Stutzer’s Recognising the Sojourner, an abstracted corvid motif constructed out of
temporary housing materials such as tenting fabric, steel, cord & pegs, stems from an encounter with a dead crow during her residency
at NIROX in 2013. A sense of solemnity attends this work, which addresses all frailty; while not loosing the poignancy of a significant
encounter with a complete ‘Other’ – a haunting memorial that will be folded away.
Daya Heller’s metal armature and cement sculpture of a pregnant female form is reminiscent of Stutzer’s and Winter’s concern with
notions of temporality and life cycles. The deliberately opened form, reveals the armature that lies beneath the surface, and thus the
beginnings of the work are in dialogue with its finished conclusion. Housed within the cavity of the figure (alluding to the womb) is a
dead bird. This uncanny placement of death within the zone of lifegiving, reinforces the duality of this piece, which interweaves both
internal and external worlds – like a nest. Lisa Grobler’s woven structures also reference nests. These are fascinating objects, that reference a delicate organic structure, while sporting a look of synthetic durability. The interior of the nest, usually concealed by the bird’s
industrious weaving is rendered vulnerable to the gaze in these loosely woven ‘empty nests’. Grobler’s woven ‘nests’ transmogrify in
the eye of the beholder to also resemble insect cocoons, that birds might prey upon. Bronwyn Lace’s elegaic site-specific installation
of fishing line ‘webs’ ensnaring fishing flies and insect wings amongst other fragile elements, occupy this tenuous yet prevailing rung of
the NIROX artistic ‘fauna and flora’.
TH E D O GS
Recently I have become accutely aware of the paucity of sculptural work (in particular public sculptural work) that addresses the
humble dog (canis). It is both strange and telling that the dog is a neglected sculptural subject in South Africa; considering that within
most tiers of South African Society (despite Jacob Zuma’s objections) dogs are everywhere to be met with. The prevalence of domestic
dogs in broader contemporary art circles (some quite gratuitous examples include Jeff Koons’ monumental floral Puppy Dog, Maurizio
Cattelan’s unnerving taxidermied dog figures, and Richard Jackson’s giant figure of a Bad Dog ‘peeing’ on the Orange County Museum
of Art in California) suggest that the dog in its symbiotic closeness to the human offers a fascinating position through which to explore
conceptions of otherness and nature/culture binaries. My sense is that it is because of the dogs closeness to their human subjects,
because they reflect our lives, our social stratas, and our hopes and fears that it is a hard topic to broach, particularly as a realised
sculptural subject — a little close for monumental comfort. The use of the word ‘dog’ as an insult is also particularly pugnatious in a
number of South African cultural contexts: Give a dog a black name and hang him. That being said (and at the risk of exhausting the
idioms), every dog has its day.
This year’s NIROX Winter Sculpture exhibition promises to be such a day. Jop Kunneke’s impressive and subtly caricatured bronze sculpture, Nothing But A Hound Dog is well worth the wait. Seated in characteristically brawny pit bull terrier fashion, sporting pert cropped
ears, and an exaggerated snout, this ‘hound dog’ does not disappoint. On reading the title of the piece, the Elvis Presley track of the
same name strikes up in my head, releasing ‘warm and fuzzy’ endorphins. Coming from a school of late postmodern unease that baulks
at such cosy responses, I am assured and simultaneously saddened by the shady undercurrent that ‘dogs’ this work: of pit fights and baiting, a barbaric practice very much alive in South Africa today. Simon Zitha’s bronze sculptural work, Bova & Sunrise, a ‘freeze frame’ of
a domestic incident between the artist’s dog and a local cat is a particularly poignant work, bravely acknowledging the significance of
the quotidian lives of pets, and indirectly their ‘owners’ (I hate this word).
TH E WI L D ONE S
I am always fascinated and delighted by Collen Maswanganyi allegorical sculptures. His meditation on being ‘loud’ and ‘wild’ at NIROX
is no exception. There are numerous works on the exhibition that could be read in relation to this term, such as Sipho Mabona’s
seductive paper elephants (a wild creature rendered in the most civilised of mediums: paper); but it is the wildness of people that
is most compelling for me in the NIROX context. Here I will diverge from numerous sculptural examples I could discuss to note the
archaeological and palaentological significance of the NIROX site — situated at The Cradle of Humankind. How fitting it is that at the
NIROX Winter Sculpture event many ‘wild’ and ‘loud’ people will pass through this ancient landscape in contemplation of objects of a
high cognitive order; where once their less erudite ancestors walked and lived – a place where the instrumental deliniations of animal
and human, wild and tame, were in their infancy, where humans dwelt amongst the animals, where humans were animals. On a recent
visit to NIROX I encountered a small troop of vervet monkeys. They whooped and called to each other. Their voices carried on the wind
in a manner that reminded me of Maswanganyi’s ‘landscape loudspeaker’. They watched with interest and mirth the strange goings on
of the human-wild-ones below. It pleases me to think that when all the humans have ventured back to their less wild accomodations,
our Darwinian cousins will commune with the sculptures in the park: gazing, touching, thinking.
Ann-Marie Tully is an artist, curator and writer; and a Research Associate at the Research Centre Visual Identities in Art and Design, Faculty of Art,
Design and Architecture, University of Johannesburg.
TH IN K ING W I T H H AND S | M a t t h e w Pa r t r i d g e
Richard Forbes and Angus Taylor both speak the same language and their vocabulary is material. As sculptors this is almost a
prerequisite. In sculpture, material is what matters; it is the sensitivity that the artist approaches their chosen material with that will
determine how the message will be put across. More than just a process of thought and quiet contemplation, this is a physical exercise.
Both artists stress that when in the studio, it is their hands that do the thinking. As Forbes explains with an echo of glee in his voice
“I feel the material and my hands do the work” adding after a pause “it’s like I drop out of mind and my body takes over”. Taylor too
expresses a similar sentiment noting that in the studio “after a while it is my hands that do the thinking”.
Nowadays, particularly in the South African art world, there is an over emphasis of the concept that often results in the tactility of
material, particularly in sculpture, coming second to the ‘big idea’ that the work is trying to communicate. However in the case of these
two artists what we have is a “fine balance between the understanding of substance and thought”.
“I’m not an academic artist” Forbes says tentatively. Describing the route he took as an apprentice to Guy du Toit, he tells me about his
experiences working as a stone mason restoring churches in the U.K., explaining how invaluable these were to where he is now.
Returning to South Africa with this hands on experience to working with heritage sites and objects, has really come to define how Forbes
approaches his choices of material. Continuing his interest in energy fields seen in Vortex which he installed at the Winter Sculpture Fair
last year at Nirox, Forbes has made two works that are as he describes “big white marble stones”. However their is a certain ambiguity
to how he has treated the surfaces of these “stalagmites that protrude from the earth” that his description does not capture.
Carefully working the surface to bring out a particular grated texture of the rock, has resulted in the sculptures looking as if they are
made of polystyrene – light and ephemeral. Attesting to this supposed appearance of fragility, Forbes told me that during installation
Benji Liebmann asked with exaggerated concern how they were going to be secured in case of wind - noting that “they each weigh two
and a half tons!”.
The thing with big sculpture is not only what it is made of, but where it is found. “Nirox allows space for the work to breathe” Taylor
notes, adding poetically “it’s like a palette cleanser, there is enough space to enjoy the next dish”. Nestled in the Cradle of Humankind,
there is indeed something magical about the sculpture park that naturally lends itself to housing works of such a magnitude.
Taylor is no exception. His interaction with the Nirox Foundation goes back some years to a show in Den Haag in Holland when Nirox
helped him import some six tons of red earth required for a work. Needless to say the Dutch were more than a little apprehensive at the
prospect of un-fumigated African soil coming to their shores, but after the mayor got involved and Benji worked some magic the work
went ahead.
As one will glean from this anecdote, Taylor’s chosen material is what he calls “rammed earth”. Emphasizing ing that this is the oldest
building technique in Africa, he explains the process whereby a mould that gradually takes shape is packed with earth. In the past these
kinds of works have mainly taken on forms such as figures and busts. This year sees the addition of a new subject.
Observing somewhat ephemerally that “dirt is akin to our own being,” Taylor has installed a “portrait of the house I grew up in” made
out of rammed earth. Coming from Vereeniging, he admits an emotional investment in the work, suggesting that there is a “visceral
relationship to both architecture and material” that comes to define a person.
In the case of both these artists the message seems to be that attention to material has the ability to make us reconsider our place in
the world. If the task of art is indeed to alter our perceptions of the world, what Forbes and Taylor are asking of us is to look closely at
the stuff that such a world is made from.
Matthew Partridge is a Jo’burg based art critic and historian and part-time vinyl enthusiast with a taste for Steely Dan.
TH E C URATOR ’ S NOT E | M a r y- J a n e D a r r o l l
Mastercard, Artlogic and NIROX present a contemporary view through the eyes of over 50 artists - a choir of simultaneous voices presenting their concepts, in one landscape. Much like a constellation, the works speak individually, but also with an identity as a whole. Last
years exhibition focused on a thematic approach - After the Rainbow Nation linking subject to place. This year there is no common conceptual thread - other than the presence of the present, a thread that emerges of its own, without invitation. The NIROXsculpturepark,
recently listed (unsolicited) in Art Privee – an online directory of the finest Museums and Foundations world wide (www.artprivee.org),
covers an area of 15 hectares and has 8 years of exhibition history.
It has made an indelible mark on the landscape for sculpture in South Africa. The NIROX artists’ residency program has seen over 200 artists through the residency to date and forged international links with Yorkshire Sculpture Park, Creative India and Wanas Kunst, in Sweden, encouraging reciprocal relationships – an indication of the growing global interest in the contemporary art of South Africa. Artists
have been identified and invited, and others have approached us to be part of the exhibition – followed by a critical selection process.
The foundation of the exhibition is to profile the discipline of sculpture – which has a significant history on the African continent – committed to facilitate and show excellence in the field. It is not a review, but rather a moment in time. The simultaneous commentary of
over 50 seemingly unrelated artists invites the viewer to unravel the threads that invisibly link individuals – both in content and style.
Is it possible to read and understand the context of the show as a whole? The process of linking nodes – or points of meaning – are much
like thoughts pulsing across the parkland.
The show has taken a year to plan and realize, resulting in a diverse resonance, a multi-valency of form and content. I was pleased
to hear one of the participating artists remark on what a responsibility it was to be invited to participate in this show because he felt
compelled to respond in a way worthy of the site - and with a major sculpture that honored the historical significance of the place as
well as having something significant to say for itself. The physical site is indeed unique – not only is it situated in the heart of the Cradle
of Humankind – it is for me symbolically the origin of creativity – and as this is the area of my interest, to focus on art in nature – there
is no other venue in South Africa that can offer this opportunity as its sole purpose, to create and exhibit sculpture without inhibition.
The issue that has evolved most prevalently in my thoughts whilst curating the show and seeing the works come to life has been: how
we perceive the present. I have come to realize that rather than looking back at our past to unearth meaning – we are in fact unable to
separate ourselves from our past and so we see both the present and the future through the veil of history in which we are cloaked. Art
has a way of making us think anew. I hope that the show can awaken contemplation in all who pass through it.
NSW2014
B/
(02) SEAN BLEM
Hyperextension No. I, 2014
Meranti, leather riempies,
SupaWood, natural pigments
and binders and undisclosed
objects
H 180 x L 58 x W 56 cm
NSW2014
B/
(02b) SEAN BLEM
TTTR Series - sculpture No. I 30 April 2014
Wood, riempie, aloe ferox
suspension and iron
H 93 x L 26 x W 21 cm
NSW2014
B/
JONI BRENNER
Intimations of Continuity, 2014 (4)
Bronze, Edition 1/6
(3a) H 6 x L 11 x W 7 cm
(3b) H 8 x L 13 x W 11 cm
(3c) H 16 x L 18 x W 13 cm
(3d) H 15 x L 20 x W 17 cm
NSW2014
B/
(3e) JONI BRENNER
Facet, 2014
Bronze, Edition 1/6
Approx: H 15 x L 20 x W 17 cm
NSW2014
B/
(6a) CARLA BUSUTTIL
Soldier Mask, 2014
Paper, Oil Paint, Resin and Plastic
Dimensions variable, housed in a
box 40 x 40 x 40 cm
NSW2014
B/
(6b) CARLA BUSUTTIL
Melting Mask, 2014
Paper, Oil Paint, Resin and Plastic
Dimensions variable, housed in a
box 40 x 40 x 40 cm
NSW2014
B/
(6c) CARLA BUSUTTIL
Girl with a Luminous Smile, 2014
Paper, Oil Paint, Resin and Plastic
Dimensions variable, housed in a
box 40 x 40 x 40 cm
NSW2014
B/
(6d) CARLA BUSUTTIL
Trout Mouth, 2014
Paper, Oil Paint, Resin and Plastic
Dimensions variable, housed in a
box 40 x 40 x 40 cm
NSW2014
B/
(6e) CARLA BUSUTTIL
Toothy Mask, 2014
Paper, Oil Paint, Resin and Plastic
dimensions variable, housed in a
box 40 x 40 x 40cm
NSW2014
B/
(6f) CARLA BUSUTTIL
Poly Roly, 2014
Paper, Oil Paint, Resin and Plastic
Dimensions variable, housed in a
box 40 x 40 x 40 cm
NSW2014
C/
(7a) MARCO CIANFANELLI
Vertical Figure II, 2014
Maquette
Laser-cut mild steel
Edition 3-5
H 67 x L 20 x L 13 cm
(7b) MARCO CIANFANELLI
Vertical Figure III, 2014
Maquette
Laser-cut mild steel
Edition 3-5
H 45 x L 13 x W 9 cm
NSW2014
C/
FREDERICK CLARKE
Myriad Mechanics, 2014
Horizontal lightbox, wood,
perspex, metal and glass
H 50 x L 230 x W 80 cm; with
metal base height: 50 cm
NSW2014
D/
(10b) STEVEN DELPORT Decontamination:
Mademoiselle Omitted
Maquette
Bronze, Edition 2/8
H 34 x L 15 x W 15 cm
(10c) STEVEN DELPORT Decontamination: Prodigy
Maquette
Bronze, Edition 2/8
H 35 x L 15 x W 15 cm
(10d) STEVEN DELPORT Decontamination: Pugilist
Maquette
Bronze, Edition 1/8
H 37 x L 15 W x 15 cm
NSW2014
E/
(13) STEPHAN ERASMUS
Untitled (Pathways), 2014
Meranti
H 200 x W 100 x L 100 cm
NSW2014
F/
(14a) RICHARD FORBES
Fragment, 2014
White striated South African marble
H 30 x L 16 x W 20 cm
NSW2014
F/
(14b) RICHARD FORBES
Apex. 2014
Maropeng dolomite
H 70 x L 40 x W 40 cm
NSW2014
F/
(14c) RICHARD FORBES
Summit, 2014
Maropeng dolomite
H 60 x L 35 x W 38 cm
NSW2014
F/
(15a) GORDON FROUD
Variation on a Swanson III,
2014
Found objects reworked
H 12 x L 40 x W 12 cm
(15b) GORDON FROUD
Variation on a Swanson IV,
(50 Shades of Grey), 2014
Found objects reworked
H 12 x L 40 x W 12 cm
(15c) GORDON FROUD
Variation on a Swanson V,
2014
Found objects reworked
H 12 x L 40 x W 12 cm
NSW2014
G/
(17) LIZA GROBLER
Honey Drops, 2014
Images of installation
Three images each
Edition of 5 archival prints
60 x 42 cm
NSW2014
J/
(21) MANDY JOHNSTON
Duality I, 2014
Maquette [Framed]
Hand knotted Copper
Approx: 80 x 80 cm
NSW2014
K/
(22a) JOP KUNNEKE
Nothing but a Hound Dog,
2014
Bronze, Edition 7
Height approx: 42 cm
(22a) JOP KUNNEKE
Nothing but a Hound Dog,
2014
Maquette
Bronze
Height approx: 12,5 cm
NSW2014
K/
KKW Foundation
(23a) BETH DIANE ARMSTRONG
8 Poles, 2013
Maquette
Mild steel
H 74 x L 39 x W 35 cm NSW2014
L/
(27) JEAN PAUL LEMMER
The Percussion Machine, 2014
Wood and steel
H 1500 x W 700 x L 100 cm
NSW2014
L/
(28) ALIZA LEVI
Own
Maquette
Glass, wood and paint
Approx: 30 x 30 cm
NSW2014
L/
(29a) KIM LIEBERMAN
Capturing Sections of Being, 2014
Mild steel and cotton
Approx: H 80 x L 50 x W 25 cm
NSW2014
L/
(29b) KIM LIEBERMAN
Human Intersection | Walking, 2013
Mild steel, white thread
Height: 95,5 cm
NSW2014
M/
(30) SIPHO MABONA
NonZens “Bull and Bear”, 2014
Bronze, Edition of 12
Bear: H 17,5 x L 35 x W 14 cm
Bull – H 22,5 x L39 x 13,5 cm
NSW2014
M/
(31) RHETT MARTYN
Mine, 2011
Wood
Approx:211 x 111 cm NSW2014
M/
(32a) COLLEN MASWANGANYI
Wild and Loud, 2014
Maquette
Corkwood and acrylic
H 50 x L 11 x W 8 cm
(32c) COLLEN MASWANGANYI
Untitled I, 2014
Corkwood and acrylic
H 50 x L 11 x W 11 cm
(32d) COLLEN MASWANGANYI
Humble Beginnings (Mielie
stumper with a man coming
out of a cellphone raising
hands), 2014
Corkwood and acrylic
H 50 x L 11 x W 11 cm
NSW2014
M/
(32f) COLLEN MASWANGANYI
Black and white domination
(man with black and white
gloves), 2014
Corkwood and acrylic
H 50 x L 11 x W 11 cm
(32h) COLLEN MASWANGANYI (32i) COLLEN MASWANGANYI
Donki na Pere (Donkey and
Looking for love. (lady wearHorse) (heads wearing sandals ing love glasses), 2014
in blue), 2014
Corkwood and acrylic
Corkwood and acrylic
H 50 x L 11 x W 11 cm
H 50 x L 11 x W 11 cm
NSW2014
M/
(32m) COLLEN MASWANGANYI
Looking for love 2 (man wearing
yellow shirt with grey tie), 2014
Corkwood and acrylic
H 50 x L 11 x W 11 cm
NSW2014
M/
(32n) COLLEN MASWANGANYI
(33a) JOHANNES MASWANGANYI
Rich man (Man in black suit), 2014 School Girl, 2014
Corkwood and acrylic
Corkwood and acrylic
H 78 x L 18 x W 18 cm
NSW2014
M/
(33b) JOHANNES MASWANGANYI
Nyamisoro [Witch Doctor], 2014
Corkwood and acrylic
H 91 x L 20 x W 22 cm
NSW2014
M/
(34) MICHELE MATHISON
Refuge, 2014
Maquette
Steel and wood
H 100 x L 100 x W 100 cm
NSW2014
M/
(36) LEDELLE MOE
Study for Traces
Concrete and steel
Dimensions variable
each approx: H 20 x L 10 x W 10 cm
NSW2014
M/
(37) DANIELA MOONEY
Untitled, 2014
Wood, Crystals and Quartz
Approx: 80 cm diameter
NSW2014
N/
(38b) MARCUS NEUSTETTER
Without Time and Place
installation II, 2012 (9)
Brush and ink drawings,
perspex and music stands
Performance drawings in
response to music by Jill
Richards and Shaughn Macrae
NSW2014
N/
(16) ANSIE NITEGEKA
Miniaturized Dolos, 2014
Steel wire and paint
Approx: 50 x 50 cm
NSW2014
N/
(40a) JOHANN NORTJE
Convoluted Rites, 2014
[single bird wooden
prototype]
H 60 x L 120 x W 100 cm
NSW2014
N/
(40c-e) JOHANN NORTJE
Convoluted Rites, 2014
Lazercut steel
H 40 x L 40 x W 30 cm
NSW2014
P/
(41a) CAMERON PLATTER
CAMERON PLATTER
CAMERON PLATTER
The Same, 2014
Ripple, 2014
Zing, 2014
Carved Plein tree wood, StoneCarved Jacaranda wood, stain Carved Jacaranda wood, stain
Pine, stain and polish
and polish
and polish
H 260 x L 160 x W 130 cm
H 85 x L 30 x W 30 cm
H 90 x L 35 x W 35 cm
NSW2014
P/
CAMERON PLATTER
Joyment, 2014
Carved Jacaranda wood, stain
and polish
H 105 x L 40 x W 40 cm
NSW2014
R/
(44a) BRETT RUBIN
Mpumalanga, outside
Middelburg, 2013
Ceramic ink on glass
Approx: 20 x 30 cm
(44b) BRETT RUBIN
Mpumalanga, 2011
Ceramic ink on glass
Approx: 20 x 30 cm
NSW2014
R/
(44c) BRETT RUBIN
Beaufort West, 2012
Ceramic ink on glass
Approx: 20 x 30 cm
(44d) BRETT RUBIN
Kwazulu Natal, Midlands, 2013
Ceramic ink on glass
Approx: 20 x 30 cm
NSW2014
R/
(44f) BRETT RUBIN
Free State, 2012
Ceramic ink on glass
Approx: 20 x 30 cm
(44e) BRETT RUBIN
Karoo, 2012
Ceramic ink on glass
Approx: 20 x 30 cm
NSW2014
S/
(48a) RINA STUTZER
Recognizing the sojourner, 2014
Plaster of Paris on a steel base
Bronze
H 35 x L 14 x W 12 cm
NSW2014
S/
(48b) RINA STUTZER
Pinned Transitory I, 2014
Bronze, cord & patina
Bronze
H 42 X L 48 x W 19 cm
NSW2014
S/
(49a) CHRIS SWIFT
All that Glitters
Natural rubber, black
carbon, nylon, steel belt,
fantachrome coating system,
bicomposite waterbased
coating
Approximately: 27 x 8,5 in.
NSW2014
T/
(51a) NICOLA TAYLOR
Rise I, 2014
Edition 3
All stainless steel and enamel
Approx: 35 x 35 x 15 cm to
85 x 55 x 15 cm
(51b) NICOLA TAYLOR
Rise II, 2014
Edition 3
All stainless steel and enamel
Approx: 35 x 35 x 15 cm to
85 x 55 x 15 cm
(51c) NICOLA TAYLOR
Rise III, 2014
Edition 3
All stainless steel and enamel
Approx: 35 x 35 x 15 cm to
85 x 55 x 15 cm
NSW2014
V/
(55a) FRANK VAN REENEN
Shy Girl, 2014
Bronze, Edition 5
Height: 52 cm
NSW2014
V/
(55b) FRANK VAN REENEN
Rain Taster, 2014
Bronze, Edition 5
Height: 52cm
NSW2014
V/
(55c) FRANK VAN REENEN
The Giant, 2013
Maquette
Polyurethane and enamel
Edition 20
Height: 15cm
NSW2014
V/
(55d) FRANK VAN REENEN
Tears of Joy, 2014
Carbon fibre, acrylic and
enamel,
Edition 3
Height: 40cm
NSW2014
W/
BERCO WILSENACH
Captured (Day and Night)
Mixed media (sandblasted
glass over digital image with
lighting elements)
Each approx: 600 x 600 cm
(Diptych)
NSW2014
Z/
(60a) SIMON ZITHA
Sunrise & Bova, 2013
Bronze & patina
Edition 1 of 5
Approx: H 35 x L 60 x W 30 cm
NSW2014
CONTACT
mary-jane darroll (curator)
t: 082 567 1925 e: [email protected]
garreth van niekerk (assistant curator)
t: 073 459 2454 e: [email protected]
tammy du toit (manager)
t: 083 600 2280 e: [email protected]
stephan du toit (manager)
t: 082 854 6963
www.niroxarts.com
GPS Co-Ordinates : S25°59’ 09.56’’ E27° 46’ 59.17”