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Browsing Visual Arts by Issue Date

Browsing Visual Arts by Issue Date

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  • Folds. Anticipated abundance 
    Miller, Gwenneth (2018)
    "Folds: Assumed Abundance" was inspired by fabrics in Renaissance and Baroque paintings and contemporary Vlisco wax prints. This work commenced with research into the origins of colour pigments and the historical context ...
  • Record of Pangbourne 
    Miller, Gwenneth (2019)
    "Record of Pangbourne" incorporates a scan of a page from the only record book of the artist's father, where livestock and the cycles of drought and rain were captured. Reflecting on an ethic of care, the artist added an ...
  • New dams from the old 
    Miller, Gwenneth (2019)
    "New dams from the old" was collated from photographs the artist took of ten small dams built by her father to provide water for his animals. Many of the dams were washed away, but in symbolic hope, he would repeatedly ...
  • Black tears and the sea 
    Miller, Gwenneth (2019)
    In the work “Black tears and the sea” (2019), a photograph of an unusually quiet sea on a hazy, grey day, was digitally overlaid with glass drops. The title recalls the idea of dark tears, a murky bodily fluid, as if quoting ...
  • At the foot of the bed 
    Miller, Gwenneth (2019)
    The small ink sketch formed part of a larger body of work in the exhibition “Enfolding”. The work simply captures the whirlpool of folded sheets at the foot of the hospital bed. The lines and patterns traced the physical ...
  • Liquid life 
    Miller, Gwenneth; Miller, Gwenneth (2020)
    The work is developed from photographs of details of life-preserving equipment, such a s IV drips, monitors, electric wiring and tubes. Indian ink drawing overlays a collaged print of a laboratory from the archives of Dr ...
  • Reading Harari. 21 Reasons 
    Miller, Gwenneth (2020)
    The ink drawing depicts impressions of a hospital room and details of life-preserving equipment, such a s IV drips, a monitor, electrical wiring and a wash bowl. Central to the composition is a suggestion of a veiled figure ...
  • Forest for my Love series 
    Miller, Gwenneth (2020)
    The first section of the ink drawing's title "Forest for my love" originates from the physical site of a park where trees were planted as an act of remembrance. The series of artworks reflect on healing rituals and ethic ...
  • The knot that cannot be untangled 
    Miller, Gwenneth (2020)
    “The knot that cannot be untangled” (2020) developed from an end-of-life experience. Moving between the edges of known and unknown, I explored the folds in a hospital bed sheet, and the sense of returning to a universe of ...
  • Reservoir I, II and III 
    Miller, Gwenneth; Miller, Gwenneth (2020)
    These artworks are images of witnessing transient life and speak of our incredible ability of finding beauty in the moment, even during profound trauma. When completely at a loss for words, intense observation becomes a ...
  • We knew how to build a dam 
    Miller, Gwenneth (2020)
    Dark tones of black and Indigo saturates the surface of these paintings to evoke the melanchholic mood. The phrases “We know how to build a dam” and “To stop a river from flowing”, used as titles of two small paintings, ...
  • Enfolding 
    Miller, Gwenneth (2020)
    The series of artworks formed part of a project, "Enfolding" that researched memory embedded in folds and layers; captured in sites and objects. Painterly marks and stains express the nature of memory to be detailed at ...
  • The thread of all sorrows 
    Miller, Gwenneth (2020)
    “The thread of all sorrows” was compiled from digitally cropped details from various Renaissance paintings portraying lamentation. The concepts of this work and the ink drawing "Sorrow" recognise that the experience of ...
  • Sorrow 
    Miller, Gwenneth (2020)
    The drawing was presented as port of solo exhibition titled: “Enfolding”, which finds an echo in Gilles Deleuze' (1993) writing on The fold. The ink drawing "Sorrow" developed as an extension of the print work “The thread ...
  • Creatures of Home series 
    Luneburg, Nathani (2020-11)
    Creatures of Home (2020) consists of eight framed pen and ink portrait drawings of my childhood dogs, dressed in human clothing and posing against patterned backgrounds. The backgrounds are drawn digitally with the Photoshop ...
  • The portrait: a sense of time and place - Unisa staff exhibition, "Uncanny stories" (2021) 
    Opperman, Johann (2021)
    Through my creative processes, I meet the challenge of evoking a sense of place and navigating the unfolding time of faraway countries visited. I am influenced by the richness of the fabrics that I love in these spaces, ...
  • Isikhuni Sibuya Nomkhwezele 
    Filita, Sango (2021)
    This body of work Isikhuni Sibuya Nomkhwezele, translated as ‘Burning firewood is managed by the one manning the fire’ is triggered by problems emanating from the COVID-19 pandemic, addressing some of the socio-political ...
  • Matrix 
    Dreyer, Elfriede (Gallery at Glen Carlou; Pretoria Arts Association, 2021)
    In the Matrix series of works, the idea of an ‘other’ space is presented: Simulated, embodied and different to the experienced, physical real. The idea of a matrix is connected to simulation and illusion, and it is presented ...
  • Transshipped 
    Dreyer, Elfriede (edg2020 Gallery, Johannesburg, 2021)
    My main conceptual preoccupation has been focused on worldmaking discourses and the ideologies of place and space. Central concepts are utopia, dystopia and heterotopia as nuances of a family of constructions around place, ...
  • A Dictionary of Arts and Sciences Compiled upon a New Plan – Unisa Staff Exhibition “Uncanny Stories” (2021) 
    Krajewska, Ania (2021)
    The series of artworks, A Dictionary of Arts and Sciences Compiled upon a New Plan interrogates Western epistemology’s overreliance on categorization and reacts against framing and hierarchical approach to the world at ...

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