RMB Turbine Art Fair 2020 - Gallery 2

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RMB Turbine Art Fair 2020

Audrey Anderson, Karin Daymond, Mario Soares

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Audrey Anderson Casting a shadow on a person who is enjoying the sun is a little like criticism descending on an artwork. It loses its unique implicit meaning. “STAND A LITTLE LESS BETWEEN ME AND THE SUN” is a push back against the explicit in order to simply experience the implicit. It is to be relieved of the need to conceptualise art to the point where our bodies don't understand it anymore.

A Metaphor: One day a person in their daily environment is swept up in a moment of sudden realisation as an intuitive idea grabs a hold of her. This idea is manifested into a unique drawn painting. We see a bunch of deconstructed fragments, shapes and lines harmonised into a whole embodied artwork.

A tacit meaning occurs between another person and the artwork as he looks at it. The artwork potentially evokes a latent understanding in him. Then the artwork starts to get various responses from different people with some saying “I don’t know why, but I love it.” Others stand still in silence. Some respond emotionally; getting angry or laugh and some just glance at it in passing. It seems that the artwork depends on who is looking at it and what they bring from within themselves to see it. Making and seeing an artwork appears to be about a relationship. A human condition.

This is all very mysterious and needs closer inspection. Another idea comes along and says, “There is something not knowable about this artwork. It needs to be deconstructed and understood.” The idea casts a shadow of criticism. The shadow engages and starts dissecting the art into fragments. No longer embodied, but calculated and structured. Like a map laid out perfectly so that everyone can understand it in unison. The idea says “Ah! Now I know what this thing is,” and the artist looks back and says, “that is very useful thank you, but the map is not the same as the territory” understood or implied without being stated.

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A map is not the territory, Archival ink on canvas, 80 x 60 cm

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Between Curiocity and Mutti, Archival ink on canvas, 100 x 90cm

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Life Guards, Archival ink on canvas, 25 x 25cm

Tame, Archival ink on canvas, 25 x 25 cm

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If nothing else, Archival ink on canvas, 25 x 35cm

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Stretch, Archival ink on canvas, 35 x 35 cm

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Remember, ink on canvas, 31 x 31cm, 2020

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Sirocco, Archival ink on canvas, 25 x 35cm

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Karel, Archival ink on canvas, 25 x 25 cm

Lost in Thought, Archival ink on canvas, 25 x 25cm

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Rather Not, Archival ink on canvas, 35 x 25cm

A Crow, Archival ink on canvas, 35 x 25 cm

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Over Time, Archival ink on canvas, 35 x 35cm

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It's do or die, Archival ink on canvas, 80 x 80 cm

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Looking for Rocks, Archival ink on canvas, 35 x 35cm

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A dog called Voetsek, Archival ink on canvas, 25 x 35cm

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Karin Daymond

Karin Daymond is a painter who’s work is intensely rooted in the South African landscape.

“Although a work starts from a geographical point, it quickly becomes my inner space. I live within this space even during more mundane activities. I become involved with the possibilities of paint and design; how they can be used to describe an environment, but also how the marks, textures, patterns can capture the energy and rhythm of both the external and internal landscapes that I associate with a place” – Karin Daymond Karin speaks of landscapes as having an emotional identity, for instance the vegetation in the Karoo is restrained and cautious, while the natural growth in the Lowveld of Mpumalanga is flamboyant. Through her technique of intensive mark-making, patterning and colour she is able create a world within another space.

“Sometimes a landscape enhances my sense of self and how I belong, and sometimes it’s the other way around” – Karin Daymond She also explores a sense of belonging in her works and this has become a central concept, specifically looking at migrancy and refugeedom.

Daymond is based and works from her studio in Mpumalanga. Daymond taught for many years, however she began practising art full–time in 2008. She makes use of multiple mediums in her practise, primary large-scale oil painting, drawing and printmaking.

Daymond was born in 1967 in Durban, South Africa. She obtained a Bachelor of Fine Art from The University of KwaZulu-Natal and now lives and works in Nelspruit, Mpumalanga.

Daymond’s works are included in many public and private collections, both in South Africa and internationally, namely the UNISA collection and the University of the North-West.

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Field of Dreams, oil on board, 35.5 x 35.5cm, 2020

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From the Ground Up, oil on canvas, 80 x 120cm, 2020

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The Rock, oil on board, 45 x 60cm

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Tankwa Study I, oil on board, 25 x 25cm

Tankwa Study II, oil on board, 25 x 25cm, 2020

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Veld, oil on board, 25 x 30cm

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Walking with my Sister I, oil on canvas, 100 x 100cm

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Walking with my Sister II, oil on board, 45 x 60cm

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Kalahari study I, pencil, image size 30 x 41cm, 2020

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Kalahari study II, pencil, image size 33 x 43cm, 2020

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Kalahari study III, pencil, image size 34 x 43cm 2020

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Kalahari study IV, pencil, image size 29 x 37cm, 2020

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Kalahari study V, pencil, image size 30 x 43cm, 2020

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Kalahari Study VI, pencil, image size 32 x 46cm, 2020

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Mario Pedro Soares

Mario Soares is a Mozambican artist based in Johannesburg South Africa. He moved from Mozambique to South Africa in 2008. Soares initially worked as an artist/embroiderer for Boitumelo in Hillbrow, however in 2010 he began his studies at Artist Proof Studio. Soares graduated in 2013 and proceeded to develop his skill in etching. Soares’ medium is printmaking, and he works primarily in etching on steel plates. In his body of work he divulges into the metaphor of the road to explore concepts concerning the processes of growing up, travel and migration. As an immigrant himself, Soares chooses to use faceless and generalised ‘identity-less’ subjects as he feels it gives a voice to the ways in which immigrants seek to make themselves invisible in their new home country, fearful of entrenched xenophobia. In 2014, he became an intern at APS at the Pro-Shop. Soares now works as an independent artist full time fro his studio on Johannesburg.

He has been part of numerous group shows and art fairs both in Johannesburg and in Cape Town.

Artist Statement Since I was a child in Mozambique I knew that I wanted to be an artist. Growing up, I have experienced art through joining other groups of artists. My work at that time wasn’t of a good standard. When I moved to South Africa almost 10 years ago now, my work has developed and gone through many changes and transitions. My work is largely about the life and perspective of people in Mozambique and South Africa.

Since graduating from Artist Proof Studio, I have produced numerous etchings on steel plates and each time I explore new aspects of intaglio techniques. This is a constant and intense process of discovery and experimentation. In my work I have begun to challenge the scale and depth in the images through printing on a large scale and joining plates to make up landscapes and cityscapes that engulf the viewer. In these works perspective and depth are explored and emphasized.

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Johannesburg before Covid-19 Vol II, etching, 100 x 70cm, Edition of 20, 2020

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Johannesburg before Covid-19 Vol III, etching, 100 x 70cm, Edition of 20, 2020

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Johannesburg before Covid-19 Vol IV, etching, 100 x 70cm, Edition of 20, 2020

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Johannesburg before Covid-19, etching, 100 x 70cm, Edition of 20, 2020

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South African, Etching, 100 x 70cm, Edition of 20, 2020

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South African Vol. II, Etching, 100 x 70cm, Edition of 20, 2020

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South African Vol. III, Etching, 60 x 75cm, Edition of 20, 2020

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South African Vol. IV, Etching, 60 x 75cm, Edition of ,2020

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Voyager 1, Etching, 51 x 56cm, Edition of 20, 2020

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Voyager 2, Etching, 51 x 56cm, Edition of 20, 2020

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Voyager 3, Etching, 51 x 56cm, Edition of 20, 2020

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RMB Turbine Art Fair 2020

Audrey Anderson, Karin Daymond, Mario Soares

142 Jan Smuts Ave, Parkwood | info@gallery2.co.za | +27 (0)83 457 4851, (011) 447 0155/98 | www.gallery2.co.za