Barnard in collaboration with Ebony Curated is pleased to present Point and Line by Hugh Byrne. The title of the artist’s most recent body of work succinctly indicates a primary thrust which has extended across the artist’s career and practice – a reduction to the most basic visual forms and an investigation of the visual problem solving the relationship between these forms calls for. Despite their apparent simplicity, these essential formal elements allow for layers of complexity to be built and experimented with. Byrne’s practice is as such a visual repartee between form, line, space and colour, a subtle dance and play in the search of balance and harmony. Byrne aligns himself with the tradition established by artists within the De Stijl and Bauhaus movement in maintaining a highly subjective, emotional engagement with these elements, which might mistakenly be relegated to the realm of impersonal, objective abstraction. While attending to essential visual elements, Byrne’s practice nevertheless embodies a strong emphasis on materiality and sculptural forms. Indeed, Byrne’s visual practice is thoroughly embedded in and directed by a continuous engagement with urban space, architecture and the lived experience of the city. This engagement results in complex understandings of space and dynamism, evident in this new body of work which displays a foray into more organic shapes, variations of tone and fluidities of line and form.
Barnard is pleased to present a new publication ‘Virginia MacKenny: At Sand’s Edge’ featuring essays by P.R. Anderson, Pippa Skotnes and Virginia MacKenny. This book recently launched at the Cape Town Art Fair, is now available from the gallery.
Since 2013 Barnard Publishing has been active within the galleries’ parameters and to date has editioned 9 books. This initiative aims to further explore and support the work and careers of the gallery’s stable of artists through the medium of the book. These limited edition (100 copies only) and signed publications are an extension of the collaboration between gallery and artist and provide relevance and criticality to emerging and established practitioners alike. To date publications by Lien Botha, Ryan Hewett, Alexia Vogel, Sarah Biggs, Jaco van Schalkwyk and Katherine Spindler have been added to the special library collections of the Thomas J Watson Library at the Metropolitan Museum of Art in New York, the University of Cape Town (UCT); Pratt Institute, New York and the Museum of Modern Art (MoMA), New York.
To purchase Barnard publications please email: firstname.lastname@example.org
Lien Botha and MJ Lourens will both be participating in the exhibition Kennis at the Stellenbosch Woordfees from Friday 2 – Sunday 11 March 2018.
In the early 1970s Human & Rousseau published the first full-colour encyclopaedia in Afrikaans: entitled, Kennis. With its bright colours, attractive illustrations and interesting perspectives, it became a source of knowledge, information and (now clearly one-sided) history. Although some information is now incorrect or out-dated, this encyclopaedia opened doors to new worlds, to science and foreign ideas by giving the youth an opportunity to be curious, to enjoy research and to be visually stimulated. One could argue that this yearning for knowledge, information and “truth” created a generation that loved reading and learning.
The aim of Kennis is to retell the stories of history; correct historic or scientific mistakes; comment on historic facts or situations; update information to reflect current views; review political ideologies; use old topics as metaphors for current views; comment on the current education system; compare facts and logic; or simply be inspired by the page or topic.
Kennis will be taking place at Gallery University Stellenbosch (Old Lutheran Church) located on the corner of Dorp and Bird Street, Stellenbosch.
The exhibition opens on Wednesday 28 February 2018 and closes on Friday 30 March 2018.
The first in what will be an ongoing series of different projects by guest curators, ‘New Romantics’ curated by well-known writer and critic Mary Corrigall explores the thematics of romanticism through the lens of contemporary emerging artists based in Cape Town and Johannesburg. The exhibition opened on January 30 and will close on March 06.
Daniel Hewson recently interviewed Hugh Byrne ahead of his upcoming show ‘Point and Line’. The exhibition opening March 13, is a collaborative project between Barnard and Ebony Curated and will present new works by this dynamic emerging abstract painter.
Barnard will be participating in the sixth edition of the Investec Cape Town Art Fair (ICTAF) from Friday 16 – 18 February 2018 at the Cape Town International Convention Centre (CTICC).
This curated presentation will include new works by Richard Mudariki, Lien Botha, Tom Cullberg, Alex Emsley, Ryan Hewett, Sarah Biggs, MJ Lourens, Virginia MacKenny, Ndikhumbule Ngqinambi, Katherine Spindler, Jaco van Schalkwyk, Robyn Penn & Alexia Vogel.
Please find us at Booth B5.
Barnard is pleased to announce that the following limited edition publications (100 per edition) were recently added to the Museum of Modern Art (MoMA) and the Pratt Institute library collections in New York.
This includes: Jaco van Schalkwyk: -arium (edition 100), Katherine Spindler’s TO HOLD TIME (edition 100), Lien Botha: Yonder (edition 100), Alexia Vogel: Along the Way (edition 100), Sarah Biggs: Waiting for Rain (edition 100), Ryan Hewett: Once Were Leaders (edition 100).
To purchase Barnard publications please email: email@example.com.
On Saturday 10 February from 10:30 Mary Corrigall will be hosting her New Romantics art crawl. This is Corrigall’s first walking-talking art crawl of the year. Nature is the focus, and how and why artists are once again fixated with representing it in their art through a romantic lens. Art commentator Mary Corrigall has dubbed this movement ‘new romanticism’ as it shares characteristics with a titular movement in the late 18th century. Fittingly, the crawl will begin at the Newlands Forest, where Corrigall will introduce the theme, chat to Alexia Vogel and look at how humankind’s connection to nature has been renewed in the wake of water shortages in this province. After a studio visit with Ruby Swinney in Salt River, we will meet Sarah Biggs, Rosie Mudge and other artists at Barnard in Newlands. The crawl will conclude with an optional light lunch at Basilico in Newlands.
Many of your landscapes echo notions implicit within the thematics and visions of F. Scott Fitzgerald’s ‘The Great Gatsby’, an archetypal book speaking to the ills of Western commodification, obsession with materialism and consumerism. Would you agree with this notion and if so why?
Yes and no. First of all the irony lies in the title. The “Great Gatsby”. What is so great about the unfairness of his demise? He has become a metaphor for consumerism. My paintings depict the folly of consumerism but one still needs money to acquire one.
Some of your paintings such as “Industria – After the Rain” and “Progress Elsewhere” speak to a very machinistic landscape that is ordered, calibrated and rational. Would you agree with this?
Representation of order is riddled with many problems. I am not comfortable with order – the balance of what can be controlled. I am more interested in what cannot. Perhaps that is why my landscapes seem to epitomise rationality because it is an expression of the opposite of my internal landscape. Painting is laden with an element of chaos yet the end result does not always reflect this. Disorder lurks between what is real and imagined – there is a subtle tension there which I reflect in the landscape.
A number of your paintings do not include any figures, not too dissimilar from aspects implicit within J.H. Pierneef’s ‘Johannesburg Station Panels’. Was this a specific strategy that you adopted or did it occur naturally?
It occurred naturally. My landscapes are not devoid of people rather it illustrates the impact of people on their surroundings.
Please guide us through your process of conceptualization from beginning to end. Do you work from photographic source material?
I never replicate a landscape from a photograph – what would be the point? As a dyslexic individual my visual modalities have naturally taken centre stage. This includes my visual memory. When painting whatever is stored in that area of my brain seems to finds itself on the surface of what I paint. It happens quite spontaneously and surprisingly so my actual process is still a bit of a mystery to me.
Look, landscapes are quite problematic because it is glimpses that instantly fades with time. Landscapes are experienced in passing. So to frame and capture a scene that is still and laden with meaning, should transcend that which is being portrayed.
More recently in 2016 and 2017 your paintings have shifted into what could be construed as a more tangential approach to painting implicit in, ‘Birth – A brief end of violence II’. What brought about this shift in your practice?
It has come full circle. My initial approach to painting has always been a classical approach, but in exploring art I have discovered a doorway into working from a more auto-matistic frame of reference. This was my introduction to pathephysics. I have experimented with decalcomania when I was in my early years of practise. Now it has found a new confidence in my work.
Why do you choose the medium of paint to express your subject matter?
Paint has at the same time a freedom in fluidity and is something that needs to be tightly controlled.
What thematics are you planning to explore in your next exhibition here at Barnard in 2018?
For my second solo exhibition I am exploring the connection between order and disorder as manifested in the flux of an ever changing environment which I call home. The focus of my paintings has become resolute by what small things mean in a bigger vista.
In seven days time Barnard will open Mary Corrigall’s curatorial exploration into the effervescent theme of Romanticism, evinced by artists based predominantly in Cape Town. It brings together a new and established generation of painters preoccupied with the area where nature, science and the sublime converge under the banner of a title referring to a movement that dates back to the late 18th century. Works by Barnard artists – Alexia Vogel, Sarah Biggs and Robyn Penn will be joined by those produced by Heidi Fourie, Ronél de Jager, Rosie Mudge and Marcus Neustetter. Be sure to join us from 18:30 onwards.