Tracy Payne at Kizo Gallery
by Carol Brown
Tracy Payne's exhibition at Kizo is the result of what she describes as her psychological journey from the depths of darkness to a rebirth. Her conversation is rooted in the memory of her previous traumatic life experiences which include abuse, addiction, depression and reaching rock bottom in her life. These experiences were all manifested in her earlier works when she created installations in her studio and assumed another persona, as well as becoming a graffiti artist, using public spaces to leave messages such as 'Shshshsh ... he told me not to tell ...' or 'Where there's smoke, there's fire'.
As alter-ego polly, Payne put on a long wig, extravagant make-up, dressed herself in the kind of provocative and sexy clothing she did not normally wear, and went out on the town to experience the kind of responses from men and women that this kind of appearance seemed to provoke (see http://www.artthrob.co.za/march/artbio.htm, March 1998).
Ten years later, however, she talks about her spiritual re-awakening: after reaching her lowest point and admitting her problems, she has found a new joy and contentment in life, coming to terms with her past and rejoicing in the present. This exhibition, entitled 'Awaken', represents a selection of works from her 'rebirth'.
One's immediate impression on entering the gallery is of a clean, open space with bright, clear and serene works. It is uncluttered and the paintings are given space to breathe and impart their own message. The most striking pieces are the portraits of monks which at first glance appear almost overly decorative. The one which I found most absorbing was Starburst Monk which is the centerpiece of the show. It comprises a large canvas with a portrait of a gentle face with a coronet of frangipani flowers with tears in the shape of stars falling from his downward cast eyes.
Described as such it sounds like a dreadfully kitsch illustration suitable for a young girl's bedroom. Yet its strength lies in the fact that it totally transcends a verbal interpretation. I found myself constantly drawn back to the image and each view gave me a new perspective. Payne prepared the background by raking paint across the surface, giving it a texture of 'threads'. The evidence of process can be likened to the sense of ritual and meditation and is reminiscent of a Zen garden where patterns are raked into the sand, leaving traces of the physical act.
This technique gives the work a vibration and sense of movement which seems to cast a mystical veil over the face, taking it from direct reality onto a different plane. The starburst tears are also surprisingly magnetic; maybe it is the incongruity of representing tears as light sources. It is in this dichotomy, which is frequently repeated in various ways, that one comes to terms with the artist's intent. And dichotomy is very much a part of Payne's exploration, to which she constantly refers in the terms of ancient Chinese philosophy of Yin and Yang, the masculine and feminine.
Under Yang are the principles of maleness - the sun, creation, heat, light, Heaven, dominance etc., and under Yin are the principles of femaleness - the moon, cold, darkness, material forms, submission, and so on. This production occurs cyclically and constantly, so that no single principle continually dominates the other. All opposites that one experiences - health and sickness, wealth and poverty, power and submission - can be explained in reference to the temporary dominance of one principle over the other.
On questioning Payne about her sources, she explains that five years ago she watched Shaolin Wheel of Life, a video depicting China's Shaolin monks in performance. The aspect which spoke most directly to her was the relationship between the seemingly aggressive actions of Kung Fu and the spirituality of Zen Buddhism. This was for her an illuminating experience. The monks retain their masculine strength whilst acknowledging a calm, peaceful serenity linking the Yin and Yang. Much of Payne's work then took the inspiration of their movements through video imagery which also produces wave-like lines reminiscent of the ancient Zen raking actions.
This exploration of underlying structures and how harmony is produced are also seen in Payne's flower paintings, sexualised kaleidoscopic views of various flowers interspersed with lithe female limbs and torsos. It is now almost impossible to consider this type of image without thinking of Georgia O'Keefe's work, and Payne acknowledges this reference. However she brings a further complexity to the vision by a complicated technique of using a series of mirrors to create hexagonal forms which she then paints, resulting in a universalised mathematically proportioned representation, where science and art seem to come together. This constant reminder of the scientific view and structural form underlying the artistic and creative vision is a fascinating aspect of her work. Her spiritual concepts are underpinned by science which in itself perhaps reinforces her overriding interest in the opposites of Yin and Yang.
Payne's work has not been shown in any significant manner in Durban previously, and the introduction of this artist to the city has been a coup for curators Nathi Gumede (Kizo Gallery) and Yvette Dunn (Michael Stevenson Gallery). The exhibition is a densely layered and deeply personal exploration of issues, unpacking aspects of contemporary life's complexity and confusion of categories. The show works on a philosophical level of enquiry, and one senses that the event could have benefited from debates and discussions around many of the topics underlying Payne's work.
Opens: October 6
Closes: October 28
Kizo Art Gallery
The Gateway Theatre of Shopping, Shop G350, Palm Boulevard
Tel: (031) 566 4324
Fax: (031) 566 2494
Email: nathig@kizo.co.za
www.kizo.co.za
Hours: Mon - Sun 9am - 6pm
