Lizamore & Associates presents two solo exhibitions by Cape Town-based artists in July; Orda716 by Kilmany-Jo Liversage (in association with Worldart Gallery) and Attachments and Separation by Uwe Pfaff. These exhibitions open on 30 July 2016 at 18:00. A part of Liversage’s bold collection will also show at Worldart gallery in Cape Town from July 7 2016.
Liversage’s new solo exhibition, Orda716, refers to her street-name ‘Orda’ and the month and year of the exhibition. It further references digitised mass production and a futuristic post-human world, populated by perfect-looking female cyborgs, as depicted in her portraits. The result is a series of brightly coloured large-scale paintings, evoking the street, art history and the future.
Having carved out a unique style of art-making that sits at the increasingly blurry boundary between fine art and graffiti, Liversage’s new solo exhibition consists of portraits that continue in this vein, while further exploiting urban influences. In particular, this new series of paintings are marked by the depiction of building scaffolding, which forms the backdrop and basis for her mostly female portraits. This enhances her reference to the urban landscape, evoking billboards and construction sites but also on metaphorical and literal levels addresses the manner in which the artist is interested in the (re)construction of images and the self.
Her portraiture is defined by the seemingly contradictory process of constructing and deconstructing images. This latter quality is enabled by the spontaneous, ‘loud’ neon lines and disruptive graffiti gestures that mimic the way in which street artists enact rebellions and state their identity and positions in the public arena.
Uwe Pfaff has become well known for his sometimes irreverent, always materially engaging and usually very witty sculptures since the mid-1970s. He has charted a course that takes highly stylised representations of the human form (as well as other subject matter) and layers a personal symbolic language over and into these forms to speak of a sense of dislocation as well as a place of being: a ‘situatedness’, one could say. In this exhibition, Attachments and Separation, Uwe Pfaff has clearly placed himself – the artist – with his hopes and fears, dreams and imaginings, wakefulness and sweet slumbers, to the fore. It is as if he is talking of transitions between states or of a becoming as much as an unbecoming.
His sculptures have a temporal implication as if we are seeing slices of time and space or frames in a celluloid movie strip. As the artist himself puts it ‘The truth is in between’. This is indicated in a literal way in his work through the use of negative space. Several of the works on display – for example Departing and Apple Bite – are made from two pieces of metal that reside together on a plinth and resolve to indicate something that while it is not actually there exists and stands before us.
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