The Symphony of Line and Colour

I believe Khoza’s Temporary feelings has revealed an artist of an interesting vision and that only the freedom he possess at the moment wherein he is not signed to any commercial gallery will continue to encourage him to push the frontiers of his forte undeterred. The grip of the commercialization of his enterprise may limit his movement and curtail his themes to what the commercial art world has come to expect of young artists through the ruby of monetary value ingrained in the elusive gimmickry of what is trending or maybe he would take us farther and emerge amongst the rest when his mid career period catches up with him

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Intraparadox: Interview with Elizabeth Balcomb

Tradition, absolutely I think that’s happening on a global level from what I can see when I look at the Venice Biennial – pieces that were there, I am excited by the fact that art moves and goes into new directions and I think it is great and South Africa, and so called African Art is huge in the world out there at the moment right now and it’s a great opportunity for us to go for it galleries are just waiting for good art to come out of Africa and it’ll be great if there was support in the South Africa of the arts, I don’t think, jeepers, enough is done around that theme. Artists needs support. I just feel that there is so much talent in South Africa and talent is not flipping race orientated you get born into it and I just [think] that hey the possibilities for studying art and entering competitions is all happening and we hear endless talk about job creation there is flipping job creation right there with people with their talents and artists start employing people to start helping them with their work' Elizabeth Balcomb

Andrew Tshidiso Motjuoadi (Ico-Graph)

1935, May 13: Andrew 1Tshidiso Motjuoadi is Born in Limpopo (formerly Known as Northern Transvaal) 1935 – 1960: 2there is a scarcity of documentation around the artist life during this period. 1961 – 1962: Studies in Durban and University of the North 1963: First one man show in Johannesburg 1964: Motjuoadi is commissioned to paint …

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Colonial Discourse – art production

î∩ the visual arts the choice of subject matter, method of representation, the content of the work as well as the context within which a work of art is produced plays significant role in how the message inherent in the work is conveyed. Bearing these factors in mind when confronted with a work of art …

Continue reading Colonial Discourse – art production

For Sale Project Exhibition 2012

However if I may be allowed the privilege to give a general commentary on creativity itself I would like to offer that the artist, the creative person whatever the vocation of creativity that they are grappling with, for them concentration is everything. For in their pursuit to reach the original artwork the artist must work hard ceaselessly. Then I believe that they will reach a state wherein there is a ceaseless stream of consciousness towards creative art production. It is in that state that the artist will produce remarkable work that can claim a place in visual art history. In the future students of the arts will come across their names and work. And this is the highest ideal that art energy should try and attain through the life of the artist. The artist can channel it only without compromising hard work.

Hosea Matlou: Towards Simplicity

Arriving in Gauteng - Tshwane in the new century Matlou hailed from Polokwane in Ga-Sekgopo district. His plans initially were to study Finance and accounting at Tshwane University of Technology (then Pretoria Technical College). With minimum training in the visual art received from sessions attended at a community based art project Matlou left the institution in middle of his second year level to pursue a full time career as an artist.

A View of Four Dada Portraits

According to Tristan Tzara ‘In art, Dada reduces everything to an initial simplicity, growing always more relative. It mingles its caprices with the chaotic wind of creation and barbaric dances of savage tribes (Chipp 1968: 386). This is indeed true of figure 1. The composition is simple and it looks like anyone who is not an artist might have produced the artwork.