Orpheus, 2021
Oil on linen
670 x 820 mm Framed

The phrase “to whom it may concern” is most often used in open letter formats where the recipient is unknown. For the past year, we have all experienced unprecedented change and disruptions to our daily life. Many of us would not have predicted that more than a year later we would still be dealing with the almost surreal and idiosyncratic “new normal”. With all that has had to be cancelled, rescheduled, changed, adjusted, and delayed, where does one put their feelings? How can this shift in our world view be put into words? And, if we could express how much the past year has changed us, who would we even address that to?

“I struggle to stick to a theme. I think the one singular thread through my work is my idiosyncratic worldview. Not that I’m exceptionally unique I just think that I’m unusually brazen. When I work, or prepare to work, its often like returning to a place. I was an only child and grew up quite by myself (note that I haven’t used “alone”). I think other only children will know there’s a very specific way we draw into ourselves, set up projects, and generally get going with things. I think what I return to is the joy of a new project; a secondhand book on Greek mythology from Sedgefield, finding a dead bird, staying up late at an adult’s party and sort of feeling like you’re a part of it.”

- Fanie Buys

Never Been to a Wedding, 2021 | Every Time I Approach Something Delicate, I Want to Break It, 2021
Oil on canvas
440 x 320 mm Framed

Tasteful Sunset (Will They Emigrate to Australia), 2021
Oil on paper
275 x 365 mm Framed

Dawn Chorus, 2021
Leather appliqué on canvas
1380 x 825 mm Framed

Ever Watchful, 2021
Leather appliqué on canvas
1700 x 745 mm Framed

Anthem, 2021 | Golden Slumbers, 2021
Leather appliqué on canvas
1085 x 695 | 1075 x 695 mm Framed

“I paint images and places from memory - In my mind, these places are both real and imagined. I start with a thin transparent layer of oil paint, and work from there, creating abstract organic shapes with my brushmark. Each layer is a stain on the canvas (or paper), and forms the starting point for the following layer. To me, these images built upon layers, are quite personal, each layer exists as a little moment.”

- Zarah Cassim

Fewer Words, 2021
Oil on canvas
1930 x 1725 mm Framed

Sunshine, 2021
Oil on canvas
1325 x 1030 mm Framed

Tears II, 2021
Oil on canvas
355 x 360 mm Framed

Wellspring, 2021
Watercolour monotype collage
935 x 685 mm Framed

Further Afield, 2021
Watercolour monotype and colour pencil on calico
1280 x 935 mm Framed

Rounded Specimens, 2021 | Loops as They Appear, 2021 | Dreams of Waves, 2021
Mixed media collage on Fabriano
610 x 430 mm | 755 x 585 mm Framed

“I spend time in nature as often as I can by walking in the botanical garden, on the mountain or further afield, as I get frustrated by constantly being around geometric lines and shapes of indoor environments. I need to absorb organic oscillating displays of dappled light or long afternoon shadows of stones and grass, to feed the visual language of my painting. I have slow, contemplative mornings, writing down my dreams if I can remember them.”

- Heidi Fourie

Lemon Picker, 2021| Last Blooms, 2021
Oil on board
405 x 255 | 475 x 235 mm Framed

We Are Here, 2021
Marginal Readings, 2021
Mixed media on box-mounted canvas
500 x 700 mm Unframed

“Usually I have a list that I keep of interesting words or phrases that come to mind or that I come across in conversations or hearing in passing. For this show I imagined that each title was the header for a letter being sent to someone of significance, hence there being a bit of a narrative following through the works and into the titles, each one being subtly connected, mirroring the connection between the artworks. In the past, letters have served as very drawn out conversations to and fro, often leaving days, weeks or months to meditate upon ideas and thoughts. I long for this time and space, as opposed to the current era we live in of quick brief and impersonal communications between each other.”

- Paul Senyol

Masks, 2021
Found photographs and metallic thread on Fabriano
225 x 300 mm Framed

I’d Rather Not, 2021
Oil on canvas
785 x 630 mm Framed

Spare Me, 2021
Oil on canvas
535 x 430 mm Framed

“My work is centred around humans relationship with objects, and the stories these objects hold. I work in an archivist manner, collecting and piecing together stories from fragments of things, objects, cloth. I am interesting in what is kept, as well as what is discarded or left behind, with negative space playing a big role in how compositions are created, Over my practice I have worked with personal objects, discarded objects, clothing, and most recently a stash of fabric remnants from a tailor who makes ceremonial clothing. I find cloth to be a very evocative and intimate material, which moulds to and wears alongside the body.”

- Claire Johnson

Balancing a diamond on a blade of grass (ii), 2021
Acrylic on Italian cotton
1479 x 1220 mm Framed

“My process is an oscillation between abstraction and figuration: At times, I stay quite close to legible references borrowings (collage fragments). These material catalyse a to-and-fro between physical objects (and the rationalised meaning they represent) and the poetic objects of the imagination. In other moments, illegible, preverbal marks and traces speak of the untamed – their peripheral presences pointing to the relational meaning of interdependent dualities of becoming/disintegrating, inside/outside and room/landscape. Resisting traditional binaries of abstraction vs figuration, meaning is intimated in the liminal tension, at the moment just before things become certain, and completed by the viewer’s subjective response.”

- Jeanne Hoffman

No sign that it ever took place, 2021
Acrylic on Italian cotton
620 x 520 mm Framed

Short hours until sunrise, 2021
Acrylic on Italian cotton
815 x 615 mm Framed

“My creative process has mostly two modes; one I call directive, in which the image is planned, researched, plotted, rendered. In this mode the end result is pre-imagined and known. In the second mode which is essentially a flow state, I am at play and the images and constructions pour out from who knows where. I love both and they’re mostly complimentary. Once I’ve made a thing, I’ll lose a sense of attachment to it. I am very happy for something I made to find meaning elsewhere with other people and other contexts.”

- Katrin Coetzer

The River, 2021
Watercolour on paper
355 x 505 mm Framed

Tolstoy’s Profile R.I.P., 2021
Watercolour and gouache on paper
260 x 315 mm Framed

Meeting Place, 2021
Mixed media on canvas
1600 x1265 mm Framed