SOLO BOOTH C10

Nina Holmes

The fear and embarrassment of obsolescence makes for a civilization that is not civil but instead one that is hardened to any body or thing that is deemed worthless and has thus become irrelevant to societal functioning.

My current body of work deals largely with the notions of uselessness, irrelevance and invisibility surrounding both people and inanimate objects that are essentially discarded by a consumptive society obsessed with narcissistic value(s). The avid modern day consumerism accentuates this. My interest in the concept was originally piqued by ageism but as I began my investigation, I was wary of becoming sucked into just one aspect. I found myself aware of all marginal groups, outsiders, animals, household objects, dysfunctional items etc. that are either ignored or disposed of. I have always had a fascination for antiquity and a sense that something of another era or even recent past, holds a weight of knowledge, of stories, of humanity. And from a young age I have scoured beaches, dump sites and second hand markets in the search of a special something that had been thrown out.

I am exploring this idea in a number of ways, but most obviously in the repurposing of discarded materials that I am incorporating into my work. Many of the paintings are on old canvases, some even retrieved from bins, some that I have further distressed before painting begins. Art palettes are elevated to painting status and used acrylic paint has been reimagined onto canvases. My cleaning rags have become important markers for this work – dirty, little unplanned throw outs that have inspired larger works and have become art works themselves on unprimed canvas. Contemporary work has been framed in the slightly outdated, gaudy frames of the past.

Titles of Old is irrelevant and Best Before refer to our expiry date and imply an anxiety induced notion of time evaporating.

A floor work that has been sewn together from individual paintings and rags speaks of the invisibility and worthlessness where it is trampled underfoot by the viewer.

The centerpiece is based on a Gucci shopping bag by artist Ignasi Monreal. The image on the bag (which is essentially a throw away item) has become more important than the overly expensive item that was once in it. Greek mythology inspired references denote a past era, one that can be looked back on with nostalgia but one that is largely irrelevant today. The old and the new are entwined in a surrealist depiction.

I suppose it is not so much the mere upcycling of aged objects that is at the heart of this work; rather a call for care, for pausing and noting, for giving attention to something or someone whose value may have been obscured.

Nina Holmes My Favourite 2020 mixed media on canvas 198 x 117 cm

My Favourite
2020
mixed media on canvas
198 x 117 cm

Nina Holmes Things on my mind 2020 Oil on canvas 90 x 64 cm

Things on my mind
2020
Oil on canvas
90 x 64 cm

Nina Holmes Macbeth 2020 Oil on canvas 124 x 92 cm

Macbeth
2020
Oil on canvas
124 x 92 cm
SOLD

Nina Holmes Lost and Found 2020 Mixed media on canvas 92 x 92 cm

Lost and Found
2020
Mixed media on canvas
92 x 92 cm
SOLD

Nina Holmes Traces (series)

Traces (series)
2020
mixed media on canvas
30 x 21 cm – each

Nina Holmes Traces (series) 2020 mixed media on canvas 55.5 x 70 cm

Traces (series)
2020
mixed media on canvas
55.5 x 70 cm

Nina Holmes Did you take the rubbish out? Acrylic and oil on canvas 122 x 91 cm

Did you take the rubbish out?
2020
Acrylic and oil on canvas
122 x 91 cm

Nina Holmes I’ll cover you 2020 Oil on canvas 50 x 50 cm

I’ll cover you
2020
Oil on canvas
50 x 50 cm
SOLD

Nina Holmes The Purpose of a Palette I 2020 Acrylic and oil on perspex 60 x 60 cm

The Purpose of a Palette I
2020
Acrylic and oil on perspex
60 x 60 cm

Nina Holmes The Purpose of a Palette II 2020 Mixed media on perspex 82 x 38 cm

The Purpose of a Palette II
2020
Mixed media on perspex
82 x 38 cm

Best Before 2020 Oil on canvas 305 x 203 cm

Best Before
2020
Oil on canvas
305 x 203 cm

Nina Holmes Wallflower 2020 Oil on canvas 75 x 60.5 cm

Wallflower
2020
Oil on canvas
75 x 60.5 cm
SOLD

Nina Holmes Distressed 2020 Oil on board 53 x 63 cm

Distressed
2020
Oil on board
53 x 63 cm
SOLD

Nina Holmes Happy I painted a box 2020 Oil on canvas 86 x 61 cm

Happy I painted a box
2020
Oil on canvas
86 x 61 cm
SOLD

Nina Holmes Beaten 2020 Oil on canvas 150 x 119 cm

Beaten
2020
Oil on canvas
150 x 119 cm
SOLD

Nina Holmes Cut off 2020 oil on canvas 82 x 82 cm

Cut off
2020
oil on canvas
82 x 82 cm

Nina Holmes Immaterial 2020 Acrylic and oil on canvas 89 x 174 cm

Immaterial
2020
Acrylic and oil on canvas
89 x 174 cm

Nina Holmes Underfoot 2020 Mixed media installation 400 x 300 cm1

Underfoot (hand stitching by Heidi Benn)
2020
Mixed media installation
400 x 300 cm

GROUP EXHIBITION BOOTH C11

Sue Greeff

Sue Greeff is a Cape Town based artist. In 2012 she began her studies at UCT’s Michaelis School of Fine Art, where she later graduated as a painting major in 2015 with distinctions. Her practice is contemporary and conceptual, often based on ideas and experiences from her earlier careers in both the Medical and Interior Design worlds. Sue draws connections between seemingly unrelated ideas and visually explore these, to find and understand hidden relationships.

Her work is an exploration of femininity, reproduction and the body. Sue Greeff has drawn from her personal history as a midwife, pregnancies, births and the subsequent raising of her children. She has created evocative works, using latex as the predominant medium in the body of work. This conceptually ties into the focus of the work that not only speaks about sexuality but also alludes to the seductiveness of the largely ‘veiled’ industry of intimacy.

Sue Greeff adam II 2019 Ink and Pigment on Board 18 x 18 cm

adam II
2019
Ink and Pigment on Board
18 x 18 cm

Sue Greeff not without my child 2019 Ink and Pigment on Board 18 x 18 cm

not without my child
2019
Ink and Pigment on Board
18 x 18 cm
SOLD

Sue Greeff mamman 2019 Ink and Pigment on Board 18 x 18 cm

mamman
2019
Ink and Pigment on Board
18 x 18 cm

Sue Greeff escaping family 2019 Ink and Pigment on Board 18 x 18 cm

escaping family
2019
Ink and Pigment on Board
18 x 18 cm

Sue Greeff cellular flowers 2019 Ink and Pigment on Board 38 x 30 cm

Cellular flowers
2019
Ink and Pigment on Board
30 x 38 cm

Sue Greeff family tree 2020 Ink and Pigment on Board 20 x 30 cm

family tree
2020
Ink and Pigment on Board
20 x 30 cm
SOLD

Sue Greeff hold on tight 2019 Ink, Pigment & charcoal on Paper 50 x 64.5 cm

familie
2019
Ink, Pigment & charcoal on Paper
64.5 x 50 cm

Sue Greeff the three graces 2019 Ink and Pigment on foamcore 22 x 30 cm

the three graces
2019
Ink and Pigment on foamcore
22 x 30 cm

Sue Greeff eve II 2019 Ink and Pigment on Board 38 x 30 cm

eve II
2019
Ink and Pigment on Board
38 x 30 cm

Sue Greeff eve I 2019 Ink and Pigment on foamcore 22 x 30 cm

eve I
2019
Ink and Pigment on foamcore
22 x 30 cm
SOLD

Sue Greeff usher on the pink sea 2019 Ink and Pigment on Board 18 x 18 cm

usher on a pink sea
2019
Ink and Pigment on Board
18 x 18 cm
SOLD

Sue Greeff Andromeda under a pink sea 2019 Ink and Pigment on Board 18 x 18 cm

Andromeda under a pink sea
2019
Ink and Pigment on Board
18 x 18 cm

Sue Greeff waited 2019 Ink and Pigment on Board 18 x 18 cm

waited
2019
Ink and Pigment on Board
18 x 18 cm
SOLD

Sue Greeff pink sea 2019 Ink and Pigment on Board 43 x 65.5 cm

pink sea
2019
Ink on handmade paper on stitched book pages
65.5 x 43 cm

Sue Greeff mamman II 2019 Ink and Pigment on paper 43 x 65.5 cm

mamman II
2019
Ink on handmade paper on stitched book pages
65.5 x 43 cm
SOLD

Sue Greeff fleur III 2019 Ink and Pigment on Board 18 x 18 cm

fleur III
2019
Ink and Pigment on Board
18 x 18 cm

Sue Greeff fleur II 2019 Ink and Pigment on Board 20 x 30 cm

fleur II
2019
Ink and Pigment on Board
30 x 20 cm
SOLD

Sue Greeff fleur I 2019 Ink and Pigment on Board 38 x 30 cm

fleur I
2019
Ink and Pigment on Board
38 x 30 cm
SOLD

Sue Greeff outer bloom 2019 Ink and Pigment on paper 50 x 20.5 cm

outer bloom
2019
Ink and Pigment on paper
20.5 x 50 cm
SOLD

Sue Greeff inner bloom 2019 Ink, Pigment & charcoal on Paper 50 x 64.5 cm

inner bloom
2019
Ink, Pigment & charcoal on Paper
64.5 x 50 cm
SOLD

Ibrahim Khatab

Ibrahim Khatab, a Cairo born artist, currently lectures at the National University of Cairo and has exhibited both locally and internationally. His art showcases his knowledge and technical skills of paintings, installations and video art. Ibrahim’s artworks visually expresses the artist’s deep love of calligraphy, as well as colour, space, movement and arabic script which all factor heavily in his practice.

Ibrahim Khatab feels that Islamic Calligraphy played a poignant role in the education of art and writing. Then and now, the medium is seen to be an important element of the Arabic cultural legacy, an eternal heritage that Khatab fell in love with when he was 10 year’s old. Years of honing the technical skill allowed him to use this talent as a source of income (by designing banners for commercial spaces and beautifying the pilgrims’ houses who had arrived from Mecca)and it has become central to his designs as a practicing artist today.

Ibrahim Khatab Untitled 2019 Mixed media on Board 120 x 120 cm

Untitled
2019
Mixed media on Board
120 x 120 cm

Ibrahim Khatab Untitled 2019 Mixed media on Board 120 x 120 cm

Untitled
2019
Mixed media on Board
120 x 120 cm
SOLD

Ibrahim Khatab Untitled 2019 Mixed media on Board 120 x 120 cm

Untitled
2019
Mixed media on Board
120 x 120 cm
SOLD

Ibrahim Khatab Untitled 2019 Mixed media on Board 119 x 119.5 cm

Untitled
2019
Mixed media on Board
119 x 119.5 cm
SOLD

Ibrahim Khatab Untitled 2018 Mixed media on Board 146.5 x 162 cm

Untitled
2018
Mixed media on Board
146.5 x 162 cm

Hussein Salim

As a result of a tumultuous political and economical period in Sudan, which brought about disputes of its historical context, Hussein Salim spent a number of years as a refugee in various countries such as Egypt and South Africa. Despite his artistic training in Khartoum University, he attained his Master’s degree in art at the University of Kwa-Zulu Natal, Pietermaritzburg.

He has exhibited extensively overseas along with acclaimed local galleries, such as Johans Borman and Bonisa Private Gallery. It was during this time, that Salim and his family embarked on both an emotional and awakening return back to his homeland, Sudan. Inspired by its diversity and diasporic, multicultural communal structure, his body of work aims to celebrate this through extensive layering of symbols masked by rich colours.

Following the example of graciousness, humility and resilience of the Sudanese, Hussain Salim has worked closely with NGO’s such as African Angels and Buccaneers Outreach program, whom focus on the sustenance and uplifting of children and schools in marginalized communities with proceeds of his artwork sales being donated to various outreach schemes.

Hussein Salim Nostalgia 2018 acrylic on canvas 180 x 120 cm

Nostalgia
2018
acrylic on canvas
180 x 120 cm

Hussein Salim Untitled (series) 2020 Acrylic on Canvas 30 x 30 cm
Hussein Salim Untitled (series) 2020 Acrylic on Canvas 30 x 30 cm
Untitled 2019 Acrylic on Canvas 30 x 30 cm
Untitled 2019 Acrylic on Canvas 30 x 30 cm
Untitled 2019 Acrylic on Canvas 30 x 30 cm

Untitled
2019
Acrylic on Canvas
30 x 30 cm (each)
SOLD

Untitled 2019 Acrylic on Canvas 30 x 30 cm
Hussein Salim .7. Goddesses of Love I 2018 acrylic on canvas 180 x 120 cm

7. Goddesses of Love II
2018
acrylic on canvas
180 x 120 cm

Cobus Haupt

Haupt is well established as a bronze sculptor that draws on history, popular culture and tradition to produce artworks that are visually interesting, tactile and playful. The process and method of bronze casting informs Haupt’s work both formally and conceptually. The tendency to include cracks, flaws and unresolved imperfections that bears witness to the casting process catalogues the tactile history and the bronze technique itself, and also comments on Haupt’s rendering of the human figure. Human beings are understood as unique, fragile and remarkable due to his or her so-called imperfections, flaws and scars. These human ‘defects’ and ‘deformities’ bear, as in the case of the bronze casting process, witness to their engagement with life. Haupt undertakes all the aspects of the sculpting process himself from the mould making to the casting.

Haupt’s uses live models from which he creates figurative sculptures that portray the naturalistic qualities of the model while harnessing the expressive qualities of the medium. These assemblages juxtaposed various concepts to allow for new meaning and creation. Apart from the use of the human figure, Haupt also includes found objects including traditional African figurative sculptures, broken pieces of ceramic cutlery or childhood remnants such as Lego or Mecano. Haupt’s work also relies on an autobiographical element as he draws inspiration from that which surrounds him such as his family and objects from his past.

Cobus Haubt Fortune Cat(series)

Fortune Cat II (Kinetic)
2017
Bronze Steel Cement, 1/5
152 x 47 x 31 cm

Fortune Cat I (Kinetic)
2018
Bronze Steel Cement, 2/5
152 x 47 x 31 cm

Fortune Cat III (Kinetic)
2017
Bronze Steel Cement, 1/5
157 x 47 x 31 cm

Cobus Haubt Annabel 2018 Bronze, 2of5 14 x 20 x 10 cm

Annabel
2018
Bronze, 2/5
14 x 20 x 10 cm

Cobus Haubt Vono Giwoyo Mask 2019 Bronze, 1of7 15 x 43 x 13 cm

Vono Giwoyo Mask
2019
Bronze, 1/7
15 x 43 x 13 cm

Cobus Haubt Lostfound 2018 Bronze, 2of5 22 x 18 x 12 cm.

Lostfound
2018
Bronze, 2/5
22 x 18 x 12 cm

Cobus Haupt Moyses 2020 Bronze 14 x 21 x 14 cm

Moyses
2020
Bronze, 1/9
14 x 21 x 14 cm

Cobus Haupt Langa 2020 Bronze 15 x 20 x 12 cm

Langa
2020
Bronze, 2/9
15 x 20 x 12 cm

Vono II 2020 Bronze, 1OF9 16 x 20 x 12 cm

Vono II
2020
Bronze, 1/9
16 x 20 x 12 cm

Thonton Kabeya

Thonton Kabeya was born in 1983, in the Democratic Republic of Congo, he currently lives and works in Johannesburg, South Africa. He established OneArtStudio at the prestigious Bag Factory Artist studio in Newtown, Johannesburg, where he works with a team of assistants.

Thonton deems himself an entrepreneurtist and he is proud of his development of a new approach in art called SCULPTING CANVAS, with the canvas becoming the Medium to explore. One rhetoric question sums up his creativity – “How would African classic art have developed organically, if there was no interference or influence of colonialism and Western society ? “

Thonton has been involved in a number of art projects in both Europe and Africa, and his work can be found in many public collection and art museums around the world

Thonton Kabeya Inner city blues 2 2020 walnut powder and newspaper ink transfer on sculpting canvas 140 x 121 cm

Inner city blues 2
2020
walnut powder and newspaper ink transfer on sculpting canvas
140 x 121 cm

Thonton Kabeya Inner city blues 1 2020 walnut powder and newspaper ink transfer on sculpting canvas 140 x 121 cm

Inner city blues 1
2020
walnut powder and newspaper ink transfer on sculpting canvas
140 x 121 cm

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

SOLD

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

SOLD

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

SOLD

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

SOLD

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

SOLD

La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)
La Rumba (series) 2019 walnut powder and newspaper Ink transfer on Canvas approx. 24 x 16 cm (each)

La Rumba (series)
2019
walnut powder and newspaper Ink transfer on Canvas
approx. 24 x 16 cm (each)