My work is about looking at the journey of life. When I was about five years old, I used to pick up and collect objects that I came across. Each object was meaningful for me and I soon became an avid collector of stuff and this is how I began to understand the world. I was always curious to see what I would find the following day.
In my artwork, I still use found and collected objects. In this work, I use the internal mechanism of clocks and describe the connection between my thoughts and what is happening around me. Silhouettes of figures are reflected or appear in the negative spaces.
I chose to use rusty metallic colors. The metallic ink is mixed with colors. This is intentional as I want the metallic areas to look like they have been exposed to many things. This way the metal has lived a life.
Charcoal | Acrylic Paint | Chalk Pastel
My work is about the hardships of women. Women are told that they are beautiful, that they are like flowers, all these are pretty works said by men to break a woman since lately, we’ve been experiencing a lot of news covering women being killed by their partners, those who called them beautiful
and angels and such.
I seek to question those men who are involved in damaging what they called beautifully. I also seek to tell the story of those women without a voice, those who are in the shadows, afraid of speaking up. You will notice women and birds in my work. For women I use their faces to represent identity, beauty, and fragility then the birds represent freedom.
Birds are safer in the sky than the ground, but they find themselves on the ground to feed, which is like most victims, they can be free if they can just realize that they are not lesser beings and that it’s not okay to just take every pain and keep it. They should learn to fly and then they can be free.
I try not to make my subject easily show that they were victims of some kind of abuse, but I want to try and show how they put on the mask and pretend like everything is ok while inside
they are breaking up
Johan Van Wyk
My artwork is heavily influenced by my journey with schizophrenia and interactions between people. I feel that raw emotions and memories are best conveyed through abstract art from feelings of elation to depression, every artwork I create is a single idea or emotion.
Making sense of my inner world. Creating art from a very abstract experience so it can be seen and appreciated. Making real that which cannot be seen, continuing to persevere with my art taught me the importance to continue with a passion. Making and bettering what is seen as art.
My artwork is a reflection of my inner world, My artwork is a reflection of my schizophrenia, with every piece I reach deeper into my inner world.
A very abstract experience, making real that which is not seen.
Acrylic | Paper Collage
My work is a journey of self-discovery, the physical me that is in search of a meaningful life, having nothing but what I already know and have. This is a fight to get a reasonable understanding between my true self and the soil I am planted in and arguments between my inner self that can-do things naturally versus what is deemed acceptable by our societal value systems.
Besides theoretical debates on good art versus bad art, self-taught versus academics, the idea of my own identity weighs much of my attention. As a self-taught artist, I thought it will be of importance I tell my story the way I like it. My quest is in finding the essence of a person’s identity outside all society-valued systems. I believe that a person’s identity can easily be confused by what we see, which sets a tone of conclusion whilst what we see is already in past. Beliefs and emotions cannot be seen and yet they form a big part of a person’s identity. If beliefs and emotions can change at any point in time, why do we conclude on a person’s identity based on what we see and already know?
This question is what my work is exploring.
Acrylic | Powder Paint
Thato E Nkosi’s artistic practice in painting and sculpturing engages with his work in automotive design and engineering. The relationship between visual art and the design of machinery is evident in his futuristic interpretations of legendary African figures. The regalia and freshly features of the figures shift between the mechanical and the organic. Through softly-rendered monochromes and hyper-fine, detailed like making on roughly-hewn canvas and board. The works offer a modernist aesthetic: their simmering sense of effusiveness is met with critical restraint in asserting the two dimensionality of the painted surface.
Referencing the composition of traditional Western portraiture, Nkosi translates the power vested in his historical convention to the possibility of newly-minted understandings of African kinds, queens, and iconic leaders. The paintings offer a marked sense of presence through these creative portrayals. As the artist says; I want to show that the greatest innovation in the history of humankind was neither the stone tool or the steal sword, but the invention of symbolic expression by the first artist.
I paint to convey an emotional story, illustrating the fragility of my life from my own personal experiences.
My work is about capturing the deepest feelings of a subject. I make a conscious effort in all my work to capture the core essence of the subject matter so as to reveal something more important, something real, hidden by self-limitation and by society. I use different colors to match the painterly play of light and shadows. This allows for a three-dimensional effect of a flat surface, as well as enhancing g rich colors and contrast