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BRUNDYN +

Exhibition Detail
in-
ORO Africa building
170 Buitengracht
8001 Cape Town
Western Cape
South Africa


January 30th, 2013 - March 6th, 2013
Opening: 
January 30th, 2013 6:00 PM - 8:00 PM
 
Blue drawing 2 (cliff), Sunette ViljoenSunette Viljoen, Blue drawing 2 (cliff),
2012, Pencil on paper , 59 x 42 cm
> ARTISTS
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WEBSITE:  
http://www.brundyngonsalves.com
COUNTRY:  
South Africa
EMAIL:  
info@brundyngonsalves.com
PHONE:  
+27 21 424 5150
OPEN HOURS:  
9 - 5 MON - FRI, 10 - 2 SAT
SCHOOL ASSOCIATION:  
Michaelis School of Fine Art, Ruth Prowse School of Art, University of Stellenbosch.
COST:  
Free entry
> DESCRIPTION

Intuition
Inquisition
Intrigue
Interpretation
Invention
Interpolation
Information
Interrogation
Investigation
In
quiry


BRUNDYN + GONSALVES  are pleased to present in-, an exhibition of work by recent graduates from the Michaelis School of Fine Art, the Ruth Prowse School of Art and the University of Stellenbosch. The exhibition focuses on a selection of young artists producing work through intuitive, process-driven or experimental means of production. Works are not necessarily undertaken with a clear endpoint in mind, rather they tend towards evolving dynamically through a testing of outcomes. The exhibition comprises a showcase of fresh voices, unconstrained by the preconceptions of modus operandi often imposed on more established artists.

In some instances, as with the sculptures that make up Miranda Moss’s “imaginary solutions to unsolvable problems”, the experiments may be intentionally futile. Similarly, Luami Calitz explores a fictional symbiotic relationship between the human body and a hypothetical costume/organism which continuously evolves in response to environment conditions. Sepideh Mehraban’s paintings intuitively fuse her own memories with the stories of others to produce hybrid narratives of contemporary human experience. Both Matty Roodt and Sunette Viljoen use mediated representations of nature as a starting point for their particular process-driven translations and interpretations of natural phenomena.

Frances Marais’s interrogation of found family home video footage yields anti-climaxes and uncomfortable juxtapositions. In other cases, such as Emma Nourse’s visual representations of entropy; the outcome may be a stark revelation. Ruann Coleman focuses on arranging constructed and found objects into closed systems of equilibrium and balance. Finally, with Chris van Eeden’s work, the artist’s studio becomes a laboratory; a site of investigation, observation and a testing-ground for aesthetic hypotheses.


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