Artists

Exhibiting Artists:
(in no specific order)

• Melanie de Bruyn
• Debbie Cloete
• Gordon Froud
• Corlius Jooste
• Ewan Dressel
• Gert Spruyt
• Christo Doherty
• Corné Joubert
• Quinten Nutt
• Gwolf Coza
• Frikkie Eksteen
• Artemis Angelopulo
• Sarel Petrus
• Gerrie Roos
• Pieter Wannenburg
• FLaT 4 Studio (represented artists)
  [Click on the names above for artists profiles]

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Melanie de Bruyn

M E L A N I E  D E  B R U Y N (née van Deventer)

is a Pretoria based artist who has been working fulltime in her studio in Villieria since 2007. She studied at various institutions including the University of Pretoria, Open Window Art Academy and National School of Photography. Gustav Preller describes her work in Beeld of 24 March 2008 as follows:

“Melanie van Deventer beweer dat sy tans in ‘n “doodle fase” is. Haar verbeeldingryke olie-en multimediaskilderye vorm ryk en digte patrone wat meganiese ontwerpsvorme met vars organiese ritmes versoen. Die werk is interessant, intens en boeiend. Die beelde op doek en bord herinner in ‘n mate aan iets tussen Piet Mondriaan en Joan Miro, maar is eintlik heel eiesoortig.”

Previous exhibitions include:

• “Find”, a group exhibition at Platform on 18th in Pretoria (13 March 2008) along with Riaan Bosch, Debbie Cloete, Ulricke Lourens and Kobus Walker.
• “Artificial Light”, a group exhibition at KYK Contemporary Artspace in Pretoria (June 20, 2008) along with Anton Krueger, Lanel Janse van Vuuren, Gordon Froud, Isabella Eksteen, Frans Smit, Rehaan Calitz, Gretchen Parrock, Michaella Janse van Vuuren, Danelle Janse van Rensburg, Rogerio de Andrade, Martin Osner, Amanda van der Walt & Johan van der Walt;
• “Alexani Opening & Art Exhibition”, a group exhibition at Alexani Guesthouse in Pretoria (2 August 2008) along with Marlene Wessels, Oswald Gerber and Chevon Wessels;
• “A thin Line”, a group exhibition at Platform on 18th (27 November 2008) along with Ulricke Lourens, Ronel Kellerman, Cecily Pohl, Dylan Graham, Helena Hugo, Alet Pretorius, Jan-henri Booyens, Nicolene Louw, Cedrick le Roux, Lionel Smit, Vasti Wilkinson, Maricke du Plessis, Sybrand Wiechers, Kobus Walker, Martli Janse van Rensburg, Artemis Angelopulo, Carl Jeppe, Lynette ten Krooden, Anna Stone, Robert van den Berg, Arina Oosthuizen, Adele Adendorff, Edna Gee, Amanda van der Walt and Sanna Swart.

Her current work which is to be exhibited at Pandora is a continuation on the doodle theme with elements of realism sneaking through. The collection may also include older works dating from 1991 through her developmental phase up to the current work.

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Christo Doherty

C H R I S T O  D O H E R T Y is head of the department of Digital Arts at Witwatersrand University, Johannesburg. He is an artist and performance photographer, video artist, and VJ.

As performance photographer he has most recently worked with the Swedish butoh dancer, FRAUKE, and with the South African physical theatre virtuouso, ATHENA MAZARAKIS (Both at the Johannesburg Dance Umbrella 2010.)

As an artist, his most recent solo exhibition, at Resolution Gallery, Johannesburg, was SMALL WORLDS, a visual study of miniature railway technology, nostalgia and the South African landscape. ARMED RESPONSE, a photographic investigation of the iconography of security and paranoia in Johannesburg/ Pretoria, was exhibited at the Bag Factory and the Goethe-Institute in Johannesburg; and at the Schaufenster Galler in Potsdam, Germany; and as part of the group exhibition, Islands+Ghettos at the Heidelberger Kunstverein, Heidelberg, Germany.

www.doherty.co.za
www.atjoburg.net

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Artemis M. Angelopulo

A R T E M I S  M.  A N G E L O P U L O

Artemis M. Angelopulo is the resident artist using part of flat 4 at Clarendon Court, Lisdogan Park/ Arcadia, as a studio. The rest is gallery space. Artemis and Avril Paterson decided to start FLaT 4 Studio because of their desire to make contemporary culture more accessible and enjoyable.

In a day and age where costs are virtually unaffordable for the artist they decided to create a place in which exhibiting costs are minimal to the artist and in which everybody stands to gain something; if only the experience.

From design, illustration, painting, sculpture to film, animation and many other disciplines, they hope to make FLaT 4 Studio a place in which people can meet, share ideas and realize the value of the talent and kindred creative spirit we have in this city and further afield.

Each month sees the opening of an exhibition, which runs concurrently to a movie club. Screenings take place every second Sunday and in summer movies are be shown outdoors (so bring a jersey!…and maybe an umbrella). There are bi-weekly sessions / workshops in drawing, dancing, meditation and Qi Gong.

For all those interested in more information kindly contact Artemis 083 501 4172 or Avril 082 777 9040, or email us at flat4studio@gmail.com.

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Sarel Petrus

S A R E L  P E T R U S

Human existence and natural environment are linked, through timeless, mysterious convergences of journeys. My work is predominantly assembled using found objects from both the natural/man-made dichotomy. The found objects invoke a sense of preciousness and nostalgia.

On my own travels I collect remnants of other journeys. Bodies, skulls, bones, skin, hair, excrement, physical remains of odysseys completed or abruptly ended, some still in progress. Our ultimate destiny, death and decay, may be predictable and inevitable but our paths and distances never are. The animal remains are a reference to life and death and where the two intersect.

I re-contextualize the objects in an unpremeditated, non-deliberate manner with the intention to beautify the ordinary. Access to the individual significance these objects carried when alive or in use, is oblique, mostly hidden. Meaning is imbued through selection, arrangement, designing. I value them for their ineffable beauty and marvel at their veiled associations with my own mortality.

Remnants discarded by animals when they leave this world form the heart of my work. Once vital, such remnants are of no further use to its original owner, and they rarely have any intrinsic value to those of us still alive. Yet they are rich with significance. They speak of life discontinued, of interruptions, of beginnings and endings in the physical world. They speak of a vast unknown, a sublime, perhaps a transcendental dimension. Yet they are nothing but matter, and it is this tangible, material aspect of their being that affords me a way into the ideational.

In a mystic sense, we are co-travellers, humans and animals. Animals seem more fragile, more elemental than humans do though this is, of course, only an illusion as we are animals too, and they are at the mercy of our technological knowledge.

I use animal parts only as found objects. I do not kill in order to make art. My work restores a different semblance of life, it venerates life, but not more so than death. My work associates life closely with death, its unknowable, inevitable shadow. Life, I believe, is unknowable to death, too.

I use animal remains in different ways. Incorporating actual fragments allows them to speak for themselves in voices I could not imitate. Their stillness and inscrutability humbles me. Their wisdom surpasses what human hands can do. They are what they are, their own, irreproducible material selves. They stand for themselves with no metaphoric intervention, allowing viewers personal associations, thus opening the way for conceptual complexity far beyond the reach of my individual imagination.

Amongst other issues, one important reference afforded me by animal parts, is the concept of decay, which operates in all of us, already dead or still alive. Decay almost always leaves traces of its own, sometimes obvious, sometimes hard to decipher. Complete, absolute traceless disappearance rarely happens. Changes are recorded. Though entirely natural, the ageing process is a source of deep distress to many humans, focused as they are on surface appearance, on youth as an aphrodisiac doctrine of delusion. But the real, the material truth is always present, and so fearful anticipation, horror and loathing becomes part of my work. My intention is not to be horrific, however. My intention is to allow beauty and revulsion their equal voices, to let amnesia in, to approach primal memory, to touch diaphanous nodes where life and death almost meet, and almost part.

Reproducing animal parts in different materials and methods is a way for me to add physical and metaphoric meaning to the objects I work with. My concern with traces of animal journeys does not have to be restricted by medium; different media add different dimensions to my pursuits. Materials aid my own imagination at work, in collaboration with the animals whose discarded elements, sometimes mangled, shrivelled, broken, fractional, sometimes sublimely whole I incorporate with gratitude.

Wood and bronze are my preferred media, as both have obvious direct connections to the earth, to the elemental natural environment which I honour. They are vehicles for reproduction which show the hand of the reproducer in their very being. In other words, the physical thing, the object, could not exist in this particular form without the animal, or without my work. Wood and bronze have long histories as traditional material for sculpture, which I do not deny. Yet I acknowledge too, the possibilities of new technologies, and am to utilize them also as they come to my hands.

Exhibitions 2009

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