We are pleased to announce that the gallery has reopened. For now by appointment only. But we look forward to welcoming you again.
Due to the current measures, Nuweland will present an alternative program. This Spring we present works by Sanell Aggenbach, Morné Visagie, Pierre Fouché, Shakil Solanki and Ben Orkin.
Sanell Aggenbach (1975) her work deals primarily with the intersection of history and private narratives by considering the process of recall and interpretation. Her work displays an accomplished virtuosity as she moves comfortably between the various disciplines of painting, printmaking and sculpture.
Since 2003, Aggenbach has focused mainly on subverted feminine tropes and feminist themes. In her most recent solo exhibition, Bend to Her Will, she subtly and mischievously reframed the hobbyist art of flower arranging by appropriating the traditionally masculine art of Japanese Ikebana. Her sculptural work, primarily in bronze, parody Western masterpieces from Michelangelo, Henry Moore, and Warhol to Pierneef and take a refreshing look at these pivotal references from a woman’s perspective.
Born in Cape Town, Aggenbach currently lives and works in Woodstock, Cape Town. Her explorative work has secured her many achievements including winning the Absa L’Atelier Award in 2003. Her work is represented in numerous public and private collections, including Sasol, Absa, Spier, SABC, Red Bull (Austria), the South African National Gallery, 21C Museum in Kentucky (USA) and Anglo Gold.
“My earlier works relied heavily on processing found imagery, rethinking associations and creating new fictions. These works were often an amalgamation of historic references with private narratives and forms part of a process of investigating pathologies and deconstructing the past. My primary intention is to construct subtle paradoxes by introducing a quite humour, either formally or materially.”
Morné Visagie (1989) is a South African artist and curator who lives and works in Cape Town. Visagie completed his MFA at the Michaelis School of Fine Art (UCT) in 2019. He spent three years (2013-2016) training as a professional printmaker at Warren Editions, a fine art print studio in Cape Town. Visagie has had several solo exhibitions, and his work has been included in many group shows.
Visagie had his first international solo exhibition in 2018 at Nuweland Gallery. “Die Bloue Wis”, was a curated exhibition of works from 2011-2018. Growing up on Robben Island, the Atlantic Ocean that separated Visagie from the Mainland became a recurring metaphor in his imagination, and for the past eight years, the colour blue has been the primary medium in his work; a personal symbol of death, loss, nostalgia, memory, religion, sexuality, exile and distance.
With his recent body of work, “The Last Colour to Fade” (2019), he is researching Robben Island’s history as a place of dislocation and loss for those who have been discriminated against (banished and incarcerated there), and the sea, in this case the Atlantic Ocean, as a transitional space between life and death.
Drawing on personal recollections and collective history, “The Last Colour to Fade” offers a meditation on the sea as both a physical and psychological landscape. Memories of Visagie’s childhood spent on Robben Island are interwoven with historical facts, with narratives borrowed from literature and film, and images from art and life. Shifting between first person and third, between his own reflections and those of others, he has found in the lives and works of Adriaan Van Zyl, Derek Jarman, Jean Genet, Virginia Woolf and others a shared affinity for water. The sea – changeable, inconstant – reveals itself to be evocative of not only promise and peril, but of sensuality, desire and eroticism. It offers as imperfect parallel the image of the swimming pool and its attendant changing room, evoking a history of the queer body in art and writing.
Visagie’s current and recent works are abstracted interpretations of these themes, where colour and materiality are primary. The works share a persistent seriality, with the recurring image of a pool, the motif of tiles, and repetition of form. Most tends towards fragility, towards a suggested impermanence, made from tissue paper, recycled materials, or stained tarlatan cloth.
Pierre Fouché (b. 1977, Pretoria) introduces himself as a lacemaker. This designation highlights his interest in the techniques, materials, histories, and social relevance of textiles. His respect for technique, tradition, and innovation has earned Fouché his place within the craft establishment as an internationally respected practitioner and teacher of contemporary bobbin lace. His penchant for arcane media and aesthetics has led his practice to include macramé, drawn thread embroidery, encaustic painting, and pinhole photography, as well as traditional painting, drawing, and printmaking. Thematically, his work focusses on portraiture and the gaze, photography and representation, appropriation, and web-media cultures, as well as some forays into overt queer politics. Often informed by world art history, his desire to understand the machinery of contemporary visual cultures tends toward the Romantic. His consistent marriage of iconography with craftsmanship also contributes to this reading.
Fouché achieved his MA in Fine Arts from the University of Stellenbosch in 2006. In 2018 he was the featured artist of the Andorran city of Escaldes- Engordany’s 12th Textile and Glass Symposium. Notable group exhibitions include Lace/not lace at the Hunterdon Art Museum in Clinton, New Jersey; Crafted: Objects in flux at the Boston Museum of Fine Arts (2018), Women’s work at the Iziko South African National Gallery (2016), as well as the touring exhibition, Queer Threads: Crafting Identity and Community, first exhibited at the Leslie + Lohman Museum of Gay and Lesbian Art, New York (2015). His work is represented in the public collections of the Iziko South African National Gallery and the Artphilein Foundation, Switzerland.
Shakil Solanki (1997) was born in Cape Town, South Africa. He has recently completed his undergraduate degree at the Michaelis School of Fine Art, and is currently based in Cape Town, practicing as an artist. Solanki majored in the medium of printmaking during his third and fourth years of study. In both 2018 and 2019, he was placed on the Dean’s Merit List for consistence academic excellence. On completion of his degree in 2019, he was awarded the Simon Gerson Award in recognition of outstanding practical work, and the Katrine Harries Print Cabinet Award, for excellent achievement in the printmaking medium. Since 2018, he has taken part in several group shows, along with many silkscreen-printing jobs, and a residency at the South Atlantic Press in 202.
Ben Orkin was born in Cape Town, South Africa in 1998. Previously working under his chosen name, NEBNIKRO, multi-disciplinary artistBen Orkin has begun to establish his practice as a sculptor in South Africa. Resulting from the inversion of Orkin’s own name, NEBNIKRO allowed for the fluidityof identity, categorisation, concept, and form. His practice is a means of movingaway from expectations derived from traditional thinking and is a step towardsdefining his own identity.
Orkin has recently completed BA Fine Arts at Michaelis School of Fine Art in Cape Town, South Africa. His array of media includes photography, bead-work, ceramics, and sculpture. His practice is informed by the human form as it evolves through the experience of both spatial and inter-personal relationships.
In 2018, Orkin won best new talent at the 100% Design fair, South Africa.
Orkin’s series of largescale vessels centralises love shared, given, and taken between lovers. Importantly, he reflects on this love from his position as a queer artist. Orkin’s ceramic objects become emblematic of one body formed between two partners who melt and morph into one another. Within queerness, being attracted to or loving a body that is the same or similar to your own further allows for the proximity of “sameness”. Gender becomes relational and interactive rather than isolating. The “oneness” of these two conjoined parts, and the intimacy of this gesture, is a recurring theme in Orkin’s work. Formally, he plays with symmetry to further explore themes of common purpose; shared sacrifice; dependency; balance; and ultimately falling in and out of sync in all of these aspects of a relationship.