Born in Witbank, Mpumalanga on 26 November 1974, Adele currently resides in Pretoria, Gauteng She has studied painting under Elizabeth Riding and has ongoing conceptual and technical guidance
under Johan Conradie at Johan Conradie Art Academy. Adele is completing her BAVA degree at UNISA. Adele worked at Globe Gallery until 2014 when she resigned to follow her painting full time. Adele has exhibited extensively within the Gauteng area and more specifically in Pretoria. Adele recent interest in Still life as a genre has prompted a series of works in which she explores, in addition to illustrative concerns, the relationship between the value and function as well as the aesthetic qualities of objects. Each of these works focused on a single object that is of personal value to her.
In her latest works I maintain a focus on the transcendence of function by incorporating aspects of the vanitas style in the selection and composition of objects. In addition, she explores the literal meaning of the word 'still': With similes such as quiet, calm, motionless and subdued in mind, the act of painting becomes a process of personal reflection and contemplation.
Amita Makan was born in Port Elizabeth. She has a Masters’ Degree in International Relations. She holds a Diploma in Gender Policy and Planning from the University College London and a Cambridge Level Diploma in French. She was awarded Runner Up in SASOL New Signatures Competition, August 2009. Her first solo exhibition was held at KZNSA Gallery in 2010 and The Ron Belling Art Gallery in 2011. Her second solo ‘Nomalungelo: Threads To Freedom was curated by Brenton Maart and held at The Mess Hall, Constitution Hill and at Webber Wentzel, Johannesburg over March – April 2014.
She is currently attending a Residency at the Cite International Des Arts in Paris, August and September 2014. Amita works are all hand embroidered, using cotton and saris from her late mother’s sari collection. This use of the sari references the past and heritage of her mother and Indian culture. The simple stitching repeated throughout the works is an enactment of her ancestral memory in relation to stitching practices. By using archival photographs as her starting point and bringing them into the contemporary, Amita demonstrates the free flow of influence between past and present, and shows that we can never be free from the histories that haunt us
Bernice Stott has completed a post graduate degree in Drama which was followed by a Masters in Fine Arts at Durban University of Technology. She has been teaching in the Drama and Performance Studies Department (UKZN) for several years. Stott says that “Art making feeds my soul: it is a place of meditation yet it provides me with an engagement of both my internal and external life”.
Stott’s career has been centered on the human narrative and her intrigue with the female body in contemporary South Africa. Stott’s primary media are sculpture and painting, although Stott says that “photography has led me to into the media of
video and performance art”. She holds a Master’s Degree in Fine Arts.
These four paintings come from a body of work titled Litmus Skin. The Artist has used
a series of photographs evoking a childhood that seems mixed with horror and
delights. South African children charter potential hell realms of poverty,
dispossessions and abuses. In Litmus Skin red is primarily the colour of violence, blood,
passion, victimhood and wounding.
Gina Waldman is a mixed media artist who completed her Masters in Fine Arts at the University of the Witwatersrand in 2003. Her mixed media work explores notions of kitsch, excess, collecting, consumerism, taste and decorating. Gina’s works recall the very Victorian trend of curiosity cabinets and pinning down ‘valuable’ specimens to perhaps show off these treasured finds and to preserve them for posterity. She lives and works in Johannesburg as an artist, stylist and designer.
Grahamstown and spent six years in the Karoo before returning to Johannesburg to
focus on urban landscapes. He has exhibited widely in South Africa as well as in the
U.S, UK, Germany, and Ireland. His work is held in private and corporate collections
at home and abroad. Niebuhr currently divides his time between his studios in
Fordsburg and the Klein Karoo.
Niebuhr re-captures places that have been abandoned or forgotten or reviled, and
shows how these places actually do belong in the spectrum of our reality.
The imagery which Niebuhr creates are filled with a sense of disturbance and
violence, they become imbued with a poetic sense of spirit which is both beautiful and sinister.
McInnes obtained a BA (FA) (cum laude) from University of South Africa (UNISA) in
2001 and an MFA from the Michaelis School of Fine Art, University of Cape Town in
2004. She received the UNISA Fine Arts Faculty medal in 2001 and won the ‘Mixed
Media’ category prize in the M-Web New Signatures Competition in 2000. She was
awarded a National Arts Council scholarship in 2003, and was selected for the ‘Pro
Helvetia Arts Council of Switzerland Artist’s Residency’ programme in 2004.
McInnes lives and works in Johannesburg and is a Research Associate at the
Research Centre: Visual Identities in Art and Design at the University of
Johannesburg. McInnes interrogates the global culture and its relationship to the destruction of our surroundings and earth. Her current work interrogates the contradictions inherent in
present-day human thought and behaviour, especially with respect to the
disconnect between our material aspirations, rampant consumerism and wasteful
practices and their inevitable effect on our planet and ultimate future.
Key areas of interest relate to the forces of attraction and repulsion and, secondarily,
to the speed at which we hurtle resolutely on our chosen trajectory into an uncertain
future. A leit motif of the effect exerted by the magnetic field runs through her work
speaking to the concepts of the loss of our societal moral compass and to the binary
opposing forces to which we are subjected: nature on nature; man on nature; man on man, and inevitably, nature on man.
James Oatway (b.1978) is a South African photojournalist based in Johannesburg.
He graduated from Rhodes University in Grahamstown in 1999 with a Bachelor of
Journalism degree. In 2000 he began working as a newspaper photographer. He is
currently a Senior Photographer at the Sunday Times.
In 2014 Oatway was placed 2nd in the “Newspaper Photographer of the Year”
category at the 71st Pictures of the Year International (POYi) competition – one of
international Photojournalism’s premier awards. Some of his winning pictures form
part of an exhibition at the Newseum in Washington DC, which will run until October
2014. Oatway has been assigned on stories around the world. Democratic Republic of
Congo, Central African Republic, Afghanistan, the Gaza Strip, Haiti and Zimbabwe
are some of the notable places he has worked.
He teaches Documentary Photography on a part-time basis at the Market Photo
Workshop in Johannesburg.
“The images I photograph are my personal observations of the realities I encounter
while on my travels for work. As a photojournalist I feel that it is my job to present the various realities of life.
As humans we sometimes pretend not to notice things that disturb us. I want these
images to allow the viewer a moment to pause and observe and reflect.”
Jenny Marcus was born in Johannesburg, South Africa and still lives and works there. She paints and is actively involved in her local community as a social worker amongst other things. She runs a shop, 'The Lamp Post', in Norwood where she hosts fortnightly ‘Art Jams’ with fellow artists and friends. Jenny has attended painting classes with Greg Kerr for many years.
Jenny began painting as a "mature student" not having had art classes at school or in her tertiary studies. She paints in her kitchen, her shop, in the garden and in workshops. She particularly enjoys reading about art and the philosophy of art.
Jenny is interested in the active line making during the creation process. Her subject matter ranges from the everyday domestic scenes to people she encounters. Her
drawings and paintings show a whimsical exploration of the things around us, often doused with a sense of humour.
Liebner-Anthony van Zyl was born on the third of April 1985 in Potchefstroom in what
is now known as Northwest Province in the Republic of South Africa.
He matriculated from John Vorster Technical High School in Pretoria in 2004. After a
short sabbatical he enrolled for a diploma in Fine Arts at the Tshwane University of
Technology and completed his studies in 2011.
“As a child I had to overcome a lot of physical afflictions. I spent a lot of time in
various hospitals undergoing tests and being operated on. In my teens they
discovered that I had Asperger Syndrome – a mild form of autism.
One thing that it has taught me is that reality is by nature fractured – a fact that is
strongly reflected in my work. Art has however, also afforded me the opportunity to
transcend my personal circumstances and to rediscover my lighter side.
As a black-and-white type of person, I prefer to use monotone colours when I paint.
It reflects my particular window on the world – and how I prefer to deal with life in
general. "I like painting faces, because faces reflect the human condition as I see and
Michael Meyersfeld lives and works in Johannesburg South Africa.
Fascinated with image making from the age of six, he began taking pictures with a
baby brownie camera, and spent every available moment making contact prints
under the stairwell of his home.
His schooling was at King Edward VII Preparatory and High Schools, and he then
went on to do a degree in commerce at the University of the Witwatersrand, after
which he joined the family steel business.
The Camera Club of Johannesburg introduced him to the world of art photography and during those years he won many prizes at the numerous International Photo Salons.
His work is notable for its stark, sometimes sombre, lonely and edgy imagery that has
separateness from reality. His more recent work involves the staging of people in
structured scenes portraying mans' emotional and behavioural patterns.
Meyersfeld is not comfortable being drawn into giving explanations. His titles are
deliberately obtuse nudging the viewer to uncover what memory or emotion that
particular image has stirred in them, moving them to reflect, and respond in their
own personal world.
These are not random photographs. Each image is planned, sculpted, and directed
to the point where the desired tension is achieved. Meyersfeld has won numerous
awards, the most recent being a Gold at the London AOP Awards.
Born in 1969 in Kabwe, Zambia, Emmanuel graduated from the University of the
Witwatersrand, Johannesburg in 1993. In 1997, The Ampersand Foundation made
him the first recipient of the prestigious Ampersand Fellowship, which afforded him a
three-month residency in New York. His first solo show in 2000 at the Open Window
Gallery, Pretoria, South Africa was followed by three subsequent solo exhibitions in
the Western Cape and Johannesburg in 2003 – 2005. In 2002 he was awarded first
prize for AIR ON THE SKIN in the Sasol Wax in Art Competition, Sasolburg, South Africa.
Emmanuel employs various media, including photography and film to reveal layered
visions concerned with his identity as a young white male living in post-apartheid
In 2004 Phase 1 of his series of unique, ephemeral, outdoor installations, THE LOST
MEN was launched on the Grahamstown National Arts Festival main visual arts
programme to public acclaim. In 2007 Phase 2 of this project took place in Maputo,
Mozambique. Phase 3, THE LOST MEN FRANCE will be installed adjacent to the
Thiepval Memorial to the Missing of the Somme, France in 2014 as an intervention in
the Somme Circuit of Remembrance and will be an official event of the World War
Emmanuel lives and works in Johannesburg
Rosemarie Marriott was born and grew up on a farm in the Kuruman district,
Northern Cape, South Africa. She obtained a BA Degree from UNISA (1974) and an
Advanced Diploma (Fine Arts) from the University of the Witwatersrand,
Rosemarie Marriott has had numerous solo exhibitions since 1986 and has also
participated in group exhibitions. Her work can be found in private, public and
corporate collections in South Africa and abroad.
A paramount force in her art making practice is the combined act of collecting
material such as animal skin or parts (from taxidermists and local farms) and the
visceral transformation of that material into often tender or startling new forms.
Marriott’s intuitive responses to the specific tactility, texture and colour of chosen
material (skins, bones etc.) dictates how far the material can be manipulated and
transformed. Inchoate ideas develop through working in a labour-intensive way,
recognising the potency of the dead animal and realising a new sculptural
incarnation from that close proximity and touch.
The redemptive quality of giving renewed life to dead or discarded objects is a
primary motivation in her work.
She lives and works in Johannesburg, South Africa.
A self-trained contemporary South African visual artist and Poet, Tanisha is a
recipient of various merit awards in South Africa and has published a monograph
with ArtCo Publishing in Germany. She has exhibited at solo and group exhibitions in
Cape Town, Johannesburg, Pretoria, East London, Namibia, New York, Paris,
Netherlands, Germany and North Carolina (2012 – 2014) and her works are
represented at private and corporate collections.
She has also displayed her work at economic and climate leadership conferences in
Johannesburg (2012) as well as at performance-dialogues by poet and activist, Dr.
Rama Mani, on ‘War, Women and the Human Spirit’, at the Winnipeg Art Gallery,
Canada and on ‘The Art of Hospitality’ for World Refugee Day in Istanbul, Turkey
Her photography is often taken in naturally challenging environments, multi-layered
and broken down through digital media and interposed with misplaced objects,
each paradoxically symbols of both hope and despair, offering different meanings
to imaginary landscapes.
Influenced by her profession as an attorney in the financial services global markets
industry, her connection to her ancient heritage, and projects in marginalized
communities in South Africa, she claims to act as a medium for the places that we
inhabit and would like her works to be a ‘mirror that will remain when our footprints