TITLE OF EXHIBITION
Another Kind of Blue
David Krut Projects
Kate Jo ArthurLynda BallenGail BehrmanOlivia BothaHeidi FourieRoxy KaczmarekDavid Koloane
Sbongiseni KhuluMaja MaljevićRobyn PennElizaveta RukavishnikovaNeville StarlingJohan StegmannZhi ZuluClaire Zinn
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Another Kind of Blue is a group exhibition of works on paper, sculpture, painting, and installation by artists who have collaborated, and are associated with David Krut Projects in Johannesburg. As a follow-up on the group show Kind of Blue (2019) which explored the colour blue and its kaleidoscope of shades and meanings, artists have produced works for this second edition within the same colour spectrum, adding a focus on art and the artists’ connection with earth and its elements.
The emphasis on blue has predominantly been addressed through the elements water and air, two key components that are crucial to life on earth. The visual theme in this context is a launch pad for artists to work from, not only to literally represent large bodies of water, or a clear cloudless sky, but also as a way to express perspectives and feelings associated with blue.
CatalogueClick on any image to enlarge.
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Claire ZinnSemper VirensLinocut47 x 47 cmR 4 275Raw Kiaat frame
Claire Zinn’s preferred printmaking medium is experimental monotypes. After printing an image, the artist uses a linocut tool to carve directly into the paper and layer hard-hitting, but beautifully executed, imagery, merging war scenes in Syria with x-rays of human body parts, for example. Her work is interested in the entanglement of images, ideas, and events, which is formally reflected in the layering of images, which invite the viewer to find subjective connections.
David KoloaneBlue CityscapeDrypoint86 x 119.5 cmR 21 650Raw Kiaat frame
David Koloane’s work reflects the socio-political landscape of South Africa, both past and present. The conditions created by the apartheid system have to a large extent transfixed the human condition as the axis around which his work revolves.
He established a reputation, both locally and internationally, as a pioneer black artist in apartheid South Africa and was a founding member of institutions promoting and supporting black talent in South Africa from the mid-1970s.
Koloane looked with a lively and perceptive eye at the bustling urban environment that had shaped his works, with a focus on the complexities of the South African urban landscape.
Koloane died in 2019.
Heidi Fourie’s preferred medium is painting, through which she studies what happens when figurative representation and the intrinsic qualities of paint are pursued simultaneously. Her subject matter is simple – everyday scenes of figures and familiar objects – the simplicity of which frees her to practice and constantly refine her balancing act between restraint and excess, between gestural and polished mark-making.
Heidi FourieTurquoise DecentOil on board44,2 x 46,3 cmR 10 500Kiaat canvas frame
Heidi FourieUltramarine WaveOil on board22,4 x 22,4 cmSOLDKiaat canvas frame
Heidi FourieIndigo SwarmOil on board91,5 x 54,5 cmSOLDKiaat canvas frame
The water sketches formed part of a body of work titled Saltwater that Arthur created in 2018. The pieces were all meditations on saltwater – tears, sweat, the ocean – as a medium for healing. The idea of the oceanbecame symbolic of the idea of home. The water sketches were produced alongside another set of monotypes called Crayon Sketches, which include childlike scrawling that formed part of this same theme.
Kate Jo ArthurCrayon Sketch 5Monotype60 x 46 cmR 4 490Walnut frame
Kate Jo ArthurCrayon Sketch 2Monotype60 x 46 cmR 4 490Walnut frame
Ode to Indigo honours the natural colour extract derived from Indigo flora. Alluding to the three-part lyrical poetic form that praises and glorifies, these works encourage a visual and psychological sojourn into indigo blueness. Through a landscape of foreground, middle ground, and distance – beyond plants which leaves yield this particular colour – is an optical play with transparency and opacity, with tonal and chromatic relationships with spatial dynamics.
The handmade paper that is tinted with watercolour pigment and is laminated over a grid of thread is a surface for gouache and coloured pencil. It refers to the cultural traditions of indigo and textile dyeing. Indigo can be traced back over 5,000 years to the Indus Valley, and seventh century BC clay tablets of Mesopotamia record it.
Lynda BallenOde to Indigo IUnique work on paper107 x 52,5 cmR 20 500Ash frame
Lynda BallenOde to Indigo IIUnique work on paper107 x 52,5 cmR 20 500Ash frame
Olivia Botha, Dis net ek en jy
It is with this series that the artist chooses to explore our intrinsic relationship with nature, that which cannot always be put into words, but rather a feeling of the intangible. The artist employs an allegory of two lovers who are lost at sea. We are not sure whether they are together or trying to find one another. It is also possible that the other lover does not truly exist.
The multi-disciplinary Oliva Botha is interested in concepts of language – how we communicate, and how we are unable to communicate. Through this framework, Botha explores the different ways in which our relationships – with inanimate objects, as well as the animate – affect our lives.
Olivia BothaDis net ek en jy IPainting on board20.5 x 19 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy IIPainting on board20.5 x 17.5 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy IIIPainting on board20.5 x 17.5 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy IVPainting on board17 x 17 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy VPainting on board17 x 17 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy VIPainting on board17 x 13.5 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy VIIPainting on board17 x 13 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy VIIIPainting on board17 x 13 cmR 2 150Natural wood canvas frame
Olivia BothaDis net ek en jy IXPainting on board17 x 13 cmR 2 150Natural wood canvas frame
Robyn Penn, Nine Views of a cloud
Penn’s enduring fascination with cloud imagery is evident from her early shows to the present day. Initially, this took the form of an exploration of the sublime, but her clouds have since shifted from romanticised skyscapes to beautiful but politically charged meditations on climate change denial.
Penn’s prolific printmaking career started in August 2011, when she began collaborating with David Krut Workshop (DKW) on a series of monotypes and gave a lecture to the DKW team on colour palettes.
Robyn PennNine Views of a cloud 3Mezzotint23 x 20,5 cmR 3 580Black paper frame
Robyn PennNine Views of a cloud 5Mezzotint23 x 20,5 cmR 3 580Blue paper frame
Robyn PennNine Views of a cloud 8Mezzotint23 x 20,5 cmR 3 580Blue paper frame
Robyn PennMalevich’s Cloud IIUnique collage made form Mezzotint44.8 x 45.2 cmR 9 735Walnut frame
Roxy Kaczmarek’s paintings and prints focus on the sensibilities and relationship between people and nature. She has developed a fascination with the separation and closeness created within our lived environments and our attempts to carefully package our surroundings whilst we revel in the world’s wildness. Land and seascapes fascinate and captivate her imagination. A keen gardener, plants and their resilient ability to grow anywhere inspire her.
This series in three-coloured silkscreen with hand painting in cement, reflects on foliage and barbed perimeters set up to protect, contain, resist and caution. It pictures a neighbour’s overgrown fence which she walks past most days. Kaczmarek is constantly curious about how we set up the boundaries of our homes.
She is drawn to the colour blue as a symbol of healing and tranquillity, as well as melancholy.
Roxy KaczmarekFenced in/out 1Silkscreen42 x 59 cmR 6 000Raw Kiaat frame
Roxy KaczmarekFenced in/out 2Silkscreen42 x 59 cmR 6 000Raw Kiaat frame
Roxy KaczmarekFenced in/out 3Silkscreen42 x 59 cmR 6 000Raw Kiaat frame
Roxy KaczmarekFenced in/out 4Silkscreen42 x 59 cmR 6 000Raw Kiaat frame
Elizaveta RukavishnikovaHidden scrolls of Nostalgia IMixed media work on paper77 x 26 cmR 8 100Ash frame
Elizaveta RukavishnikovaHidden scrolls of Nostalgia IIMixed media work on paper77 x 27 cmR 8 100Ash frame
This sculpture presents varying perspectives on space travel and the different forms it can take. Significantly, the colour blue became a launch pad from where two artists started their collaborative journey. In some African countries blue is a negative colour representing cold and death, but also purity, dreams, and earthly rest. In Western cultures blue is often a colour of royalty, and the sky. In Hinduism there is blue chakra which refers to communication.
Johan Stegmann looked at an existential threat posed to the blue planet by the “white world view”. Elon Musk is commonly held beyond reproach by the logic of this world view, but in the context of living in Africa (rather than merely coming from it) man must look critically at colonisation of any form. Elon Musk’s march to Mars threatens to swop the blue for an as yet unseen red. Falling in the case of Musk, refers to a falling off of the earth and/or the necessity of the accompanying ideology to fall from being beyond criticism.
Writings by Elizaveta Rukavishnikova represent traveling in different worlds and realities. They have precise meaning. They express ideas or states. They can be pronounced. The colour blue has been chosen by Rukavishnikova due to a personal attraction to this colour.
Elizaveta Rukavishnikova & Johan StegmannNevalyashka Musk FallMaterial one, drawing on Fabriano, mixed media34.5 x 15 x 15 cmR 15 500
Zulu loves to tell stories through illustration:
“I make work that eludes to the investigation of my culture. I am a proud Zulu and I enjoy making contemporary visual representations of what I understand is relevant to current society. I have a clear vision of what impact I want to make through my art. Aside from enticing others to discover the rich uniqueness of their own culture, my goal is to influence the education sector by integrating my culture-inspired illustrations with the visual methods of teaching literacy in South Africa.”
Zulu is the owner and founder of Zuluvisual, a freelance illustration studio. She won a Gold Craft Loerie award in 2018.
Zhi ZuluAngry MermaidDigital Illustration (inkjet print on archival paper)29.7 x 34 cmR 2 8001/2 thin natural, 1/2 indigo frame
Zhi ZuluThe LandDigital Illustration (inkjet print on archival paper)59.4 x 24 cmR 3 400Thin natural wood frame
Behrman’s paintings and drawings have moved from landscape and representational, to abstract.
The paintings are gestural and by the very nature of abstract, devoid of form or object. Although poetry and music have always been primarily engaged in the making of a painting, the current paintings are derived from the Tang poets as interpreted by Witter Bynner and Kiang Kang-Hu. While the paint engages the surface, the paintings themselves are considered before they begin: although there is no specific narrative or composition, there must be a structure. Behrman prefers to work on a square: “There is something contained about a square, oil is my ideal medium; the very quality of oil paint implies a deep sensuous experience which extends to actually applying it. Drawings, on the other hand, explore positive and negative space irrespective of the shape of the surface.”
Her pencil drawings are mainly in Moleskine books, a series called Beyond the River & into the Trees.
Gail Behrman Blue Square Series 8Oil on canvas35 x 35 cmR 11 350Walnut canvas frame
Gail Behrman Blue Square Series 9Oil on canvas25 x 25 cmR 10 200Walnut canvas frame
Gail Behrman Blue Square Series 10Oil on canvas51 x 51 cmR 18 250Walnut canvas frame
Gail Behrman Blue Square Series 11Oil on canvas46 x 46 cmR 14 800Walnut canvas frame
“I am not afraid of tiger, but I hate draughtsSeeds are invisibleWould you be kind enough to attend to my needs.”
For Maljević, physical movement is an important part of the process – never can she be found sitting at an easel. Through her own version of gestural abstraction, Maljević prevents the composition from becoming staid and self-indulgent, as she has put it, and allows action and conflict to occur between the different elements with which she is engaged. Reworking the formal mechanisms of Modernism to suit her contemporary needs – as a painter, a printmaker, and also most recently as a sculptor – Maljević’s primary objective is coherence between all the individual elements within a composition, whether they are in conflict or co-existing harmoniously, and therefore its integral logic.
In 2000 Maljević moved to South Africa from Belgrade to escape the political turmoil in her own country. She has been living and working in Johannesburg since.
Maja MaljevićI am not afraid of tiger, but I hate draughtsUnique mixed media work on paper27 x 38 cmR 8 080Ash frame
Maja MaljevićSeeds are invisibleUnique mixed media work on paper15 x 29 cmR 5 140Ash frame
Maja MaljevićGrownups are very strangeUnique mixed media work on paper19 x 29 cmSOLD Ash frame
Maja MaljevićWood you be kind enough to attend to my needsUnique mixed media work on paper22 x 26 cmR 6 740Ash frame
Sbongiseni KhuluThe Creation of FamineLinocut with handwork64 x 104 cmR 7 250Black frame
This work is in large inspired by Michelangelo’s The Creation of Adam. It follows the depiction of God as the omnipotent entity responsible for all life. Although, in this instance, it is not Adam that God creates but Famine. This interpretation of Famine stems from a fictional narrative that speaks on the current socio-political climate of Johannesburg in relation to the Four Horsemen of the apocalypse.
As such, the work tackles preconceived notions of societal structures and their utility with regard to our individualised human experience through the use of metaphorical imagery.
Neville Starling A Million Unheard SunsGlass projection pieceR 40 500
For eternity, the battle between light and dark has deeply moved us through tales of fear and hope. This ageless, myth-inspiring conflict will soon cease to endure, and the blue hour will summon us to the end.
We are here now, at this critical moment between light and dark, between hope and fear. Floating in a diaphanous instant, waiting in its translucent fragility for the cold black of night. Engulfed in the cool blue, its finality beckons us for the very last time. We have only this dark night ahead, for tomorrow there will be no sunset, only blistering heat. Our ancient battle which is so universally bound to our spiritual sensibility that it transcends creed, class, religion, geography, and epoch will end, and history will be made by the victor, for the very last time.
This work recontextualises the universal visual, gnostic and temporal dichotomy of the blue of the dusk sky and the bright warmth of the sun; a finite call to action highlights courses of normalisation as it pursues this contrast through the prophetic framework of a final day where long shadows summon our very last night. We have but a few moments before only the heat of an endless day will remain, with no escape, for eternity. The materiality of glass, which reflects our current time limit, exists in a state of hypertension; it is liquid frozen in time. It is static instability; transition is its impossible desire. In its brittleness, glass divides space, it allows for complacent comfort but also for confinement, and therefore longing – for a kind of desperate, unattainable hope.
Glass dissolves the space between the past and present as we daydream, it insulates us from the immediacy outside. Right now, though, we can no longer normalise this final night, for its time is neigh. Our long shadows give temporal testament to our silhouetted disillusion, to that which we never see, to that which we refuse to acknowledge as representation. We can no longer ignore a million unheard suns; the blue hour is upon us.
Amé Bell is the Director at David Krut Projects in Parkwood which consists of two galleries, a bookstore, framing and other production-related activities. Bell is an accomplished art curator collaborating on exhibitions with local and international artists such as Deborah Bell, Stephen Hobbs, Maja Maljević, Pebofatso Mokoena, Aida Muluneh and Nina Torr amongst others. She is also a designer of art books and has produced books and exhibition catalogues on Deborah Bell, Aida Muluneh, and Quinten Edward Williams.
Bell works closely with Jillian Ross, the Director and Master Printer at the David Krut Workshop (DKW), connecting young artists to DKW and allowing them to gain collaborative editioning experience by working with Ross and her skilled team of printers.
Bell was born in Johannesburg in 1988 and completed a master’s degree in Art History at the North-West University in Potchefstroom in 2012.
ABOUT DAVID KRUT PROJECTS
David Krut Projects (DKP) has various gallery and art-based activities in Johannesburg at Arts on Main in the inner city, and on the Parkwood art strip in the northern suburbs. The gallery, bookstore, book publishing, framing and education facilities have since expanded across Jan Smuts Avenue continuing to provide a collaborative arts facility at The Blue House at 151.
In 2002, the David Krut Workshop (DKW) was established as a collaborative intaglio and monotype studio in Johannesburg. DKW relocated to Arts on Main in 2009 and collaborates on fine art editions and unique works on paper with artists such as Deborah Bell, William Kentridge, Maja Maljević, Pebofatso Mokoena, Mongezi Ncaphayi, Nina Torr, Diane Victor and Stephen Hobbs amongst other local and international artists. The gallery exhibition programme promotes works produced at DKW as well as works by painters and sculptors, ultimately supporting artists in their careers. DKP also offers a training programme for graduates wanting to have careers in the arts.
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