New Paintings for AKAA art fair Paris in association with SMITH gallery

The idea of Dogmen (a mythical representation of The Other) seems to have become the central metaphor that underscores all the themes that im dealing with at the moment: fear of the other, otherness, boundaries, borders, separateness, exoticism, racial delusions/ exclusions, fear of the outside… which eventually all amounts to fear of self.

The introduction of beeswax into my work allows me to create thick layers which I  can scrape away in parts - like revealing unearthly secrets- allowing me create more complex and discreet colour layers and then to also create 3D elements with this colour- like plasticine.

This body of work is  counter-intuitive and adopt a kind of anti-aesthetic. The works repel and attract simultaneously. They are ugly and beautiful. The lack of logic behind the aesthetic confuse the audience and stimulate an odd sensation of anti-attraction’.

 

Johannesburg Art Fair with SMITH

Two of my new paintings will be on exhibit at the SMITH booth #32 at the FNB Joburg Art Fair 9-11 September 2016.

 

Striving against dark forces (2016) oil, neon and beeswax on canvas, 1450mm x 1000mm  

Striving against dark forces (2016) oil, neon and beeswax on canvas, 1450mm x 1000mm

 

State of Emergency (2016) oil, neon and beeswax on canvas, 1450mm x 1000mm

State of Emergency (2016) oil, neon and beeswax on canvas, 1450mm x 1000mm

Surface/ Subtext

Everard Read is proud to present Surface / Subtext a small group exhibition featuring Emalie Bingham, Barbara Wildenboer, Bronwyn Lace, Ricky Burnett, Zwelethu Machepha, Thania Petersen and Elize Vossgatter.

 The exhibition will run from the 18th August until the 11th September 2016.  

The State of being temporarily permanent (2016) oil paint, ink, pigment, chalk pastel, jik and staples on canvas, 1000mm x 1465mm Elize Vossgatter’s mixed media narratives consider painting as both surfaces and surface based ‘objects’. Here the essential symbology of the images is balanced by the inherent and critical actions of layering, covering and exposing of the canvas and its stretcher. As the figurative conversations are materialized, the artist removes segments of information and exaggerates others. The duplicity of ‘noise’ under the surface allows the audience to imagine, as they aim to consider the bigger questions of displacement and the notions of a ‘foreign body’ that Vossgatter is posing. written by Emma van der Merwe

The State of being temporarily permanent (2016) oil paint, ink, pigment, chalk pastel, jik and staples on canvas, 1000mm x 1465mm

Elize Vossgatter’s mixed media narratives consider painting as both surfaces and surface based ‘objects’. Here the essential symbology of the images is balanced by the inherent and critical actions of layering, covering and exposing of the canvas and its stretcher. As the figurative conversations are materialized, the artist removes segments of information and exaggerates others. The duplicity of ‘noise’ under the surface allows the audience to imagine, as they aim to consider the bigger questions of displacement and the notions of a ‘foreign body’ that Vossgatter is posing. written by Emma van der Merwe

In spite of the  common goal (2016) oil paint, neon pigment and beeswax on canvas, 1000mm 1550mm  

In spite of the  common goal (2016) oil paint, neon pigment and beeswax on canvas, 1000mm 1550mm
 

In search of the Common goal (2016) oil paint and beeswax on canvas, 810mm x 1080mm  

In search of the Common goal (2016) oil paint and beeswax on canvas, 810mm x 1080mm