Current Review(s)
Walter Oltmann and Hentie van der Merwe 'Panoply: a Joint Exhibition' at KZNSA Gallery:
Hentie van der Merwe and Walter Oltmann at KZNSAWith this latest show, the KZNSA continues its recent habit of showcasing the work of major South African artists in one of South Africa's most flattering spaces. Walter Oltmann and Hentjie van der Merwe have apparently wanted to exhibit together for some time but the result, a show titled 'Panoply', is weighted heavily towards Oltmann in terms of volume of work, an imbalance that is not helped by the visually and psychologically spectacular work of Oltmann and the quieter, more introverted work on show from van der Merwe.
Which is not to suggest that the two bodies of works don't resonate with each other. Both sets of work make use of surreal figurative elements, and both occupy, at least partially, the murky subconscious of South African life; a murk that increasingly feels global, as inequality and violence spread around the planet. I'm not entirely convinced, however, that the stated theme of costume is the common point in the show, despite the physical foregrounding of Oltmann's Suit series.
06 September 2009 - 27 September 2009
Listings(s)
Walter Oltmann and Hentie van der Merwe 'Panoply: a Joint Exhibition' at KZNSA Gallery:
Hentie van der Merwe and Walter Oltmann at KZNSAIn this two-person exhibition, Walter Oltmann and Hentie van der Merwe explore their interests in costume as a way to display the absent body. Taking the iconographic image of the displayed costume - such as we might find in museums - as their departure point, the artists, in very different visual languages, unearth how we understand ourselves in relation to traces of others.
06 September 2009 - 27 September 2009
'Penumbra'
Walter Oltmann at Goodman GalleryWire is Walter Oltmann’s main medium for making sculptural works and he manipulates it in a way that emphasises hand-made process, using the linear quality of wire to create forms and surfaces through techniques that parallel handcrafts. His new works – created for his solo exhibition 'Penumbra' at Goodman Gallery Johannesburg – explore interconnections between drawing and sculpture and consist mainly of wire wall hangings that resemble overblown lace or crochet work.
Using mostly a thin (1mm diameter) aluminium wire, these net-like works are made by layering and stitching together sections of weave to create a form of three-dimensional tonal drawing. The resulting wall hangings declare their presence through scale and surface texture but often look delicate and at times even insubstantial.
The works forming part of 'Penumbra' explore archeological images (skulls and skeletons) that Oltmann frequently draws on, engaging with the notion of deep time, such as geological time, change and evolution. Oltmann also more specifically returns to the theme of 'mother and child'.
The show also presents an extension of Oltmann’s coelacanth images. 'I am intrigued by the mythology surrounding the coelacanth as a ‘hybrid’ creature that has been claimed to represent an evolutionary transitional state between fish and land animal (the common title of ‘old four legs’ points to this adaptation of legs developed from fins),' says Oltmann. In other works Oltmann continues his previous exploration of the interface between human and insect, notably beetles and moths.
Finally, in the namesake work of the show, 'Penumbra', Oltmann presents an interpretation of a photographic image of a rocky landscape. It is in fact taken from a documentation of a rock-engraving site. 'I wanted to interpret a scene that would carry a sense of deep time and distance – a forlorn place that looks untouched and uninhabitable,' explains Oltmann. 'The circular format may recall the view through a telescope, further underlining the notion of distance.'
20 June 2013 - 22 July 2013
