This limited offer consists of Willem Boshoff’s Political Candyfloss and Walter Oltmann’s Lace. Boshoff’s Political Candyfloss is an etching of fine lines and words culled from political discourse. These are arranged in a chaotic corona, radiating from a point in between the two panels of the work. This suggests a mutability of words, that they are floating signifiers ready to be latched onto an agenda, while the chaos of lines makes this process disordered and out of easy control.
Oltmann’s Lace shows a skeleton emitting a set of lace-like lines. There is an invocation of archaeology and deep time here, suggesting something buried and discovered, but also a sense of fragility of the body. There is also a hint of medical imaging, a suggestion of the x-ray penetrating a surface.
Linking these two works is the use of line to communicate, and a sense that while form may be chaotic, a pattern of thought can emerge from it.
Willem Boshoff, Political Candyfloss (left and right)
Drypoint etching on Hahnemühle Natural White 300gsm
Image: 76 x 50 cm, Paper: 106 x 78 cm (each)
Edition of 60
Willem Boshoff (b. 1951) is based in Johannesburg. His father, Martiens, was a trained carpenter and the artist grew up with a love for wood and respect for technical expertise. Boshoff trained as a teacher at the Johannesburg College of Art before pursuing a diploma in Fine Art in 1980. He received a Masters from Technikon Witwatersrand in 1984, and an honorary doctorate from the University of Johannesburg in 2008.
Boshoff is known primarily for his conceptual installations. He is one of South Africa’s foremost contemporary artists, and regularly exhibits nationally and internationally. His characteristic passion for words and knowledge structures is elegantly displayed in this remarkable etching. The diptych is titled Political Candy Floss (left and right) and is sold as a single unit.
Walter Oltmann, Lace
Etching on Hahnemühle Paper
Paper: 78.5 x 53.5 cm
Edition of 60
Walter Oltmann (b. 1960) is Senior Lecturer in Fine Arts at the University of the Witwatersrand, Johannesburg.
Lace, a delicate hardground etching, follows the themes of Oltmann’s work in his 2013 Penumbra exhibition at the Goodman Gallery. The opposing ideas of the intimacy and fragility of the human form, and the invasive ‘x-ray line’ of modern medical analysis merge to create a work of poignant and unsettling beauty.
Meticulously line etched in copper, but printed in relief so as to get very thin and light lines against a black background, Lace features an image of a child skeleton lightly held in fragile doiley-like form, like moth-eaten lace. The work was printed by Niall Bingham of Wits School of Arts, on yellowish Hahnemühle paper. Signed in pencil on the lower right hand edge.