sculpture

Pyda Nyariri_Pidgin Tiles

Pyda Nyariri

Nyariri’s work insists upon remaining an open text; it is a question or invitation or starting point. In this way, the work mirrors the muse, pidgin languages. A pidgin is a form of survival in the byways of empire; it is a joyful, resistant response to the suffocation of indigenous languages or the ramshackle assemblages made by trade and labour.

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Hylton Nel

The brilliance of Nel’s work is in its materiality. Naturally, it is the surfaces of his pieces that are immediately recognisable – rooted as they are in literature, history, mythology, eroticism and memoir

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Jeanne Hoffman

Jeanne Hoffman

The invitation of Hoffman’s work is to chase the tail of the forms’ suggestions, to allow the imagination to rush into the object, to see a snake in a coil of clay or an elephant’s tusk in a spire, and so on.

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Nindya_Bucktowar_Fractured

Nindya Bucktowar

Buckotwar’s use of space and clay allows us to question various kinds of material relatedness. We wonder, among much else – what happens when clay is used to evoke things under the sea?

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Mia Chaplin

Mia Chaplin

“The sculptures are paintings. And the paintings have always been quite sculptural,’’ offers Mia Chaplin, who takes her infatuation with oil paint and human fleshiness a step further, building her own three-dimensional forms, carnal and voluminous – bodily receptacles, not for filling but for holding the artist’s dreamy impasto. Painterly objects in the true sense, characterised by colour, texture, and brushstroke.

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