Bubblegum Club

Tag: spatial concerns

  • Robyn Kater: the intersection between history, identity and the city as a living organism

    Robyn Kater is a bold, passionate and multifaceted artist who is deeply inspired by the city of Johannesburg and all those who live within it. She views her home city, Johannesburg as the compelling and rich space that has greatly influenced her personal identity as well as artwork. The 23-year-old freelance artist, who recently graduated from WITS University with her Fine Art degree, relates her journey as that of self-discovery, learning and unlearning as well as one of trial and error.

    The use of Johannesburg as Robyn’s leading inspiration has motivated her to produce a powerful body of work titled, ‘Toxic Playground’. Robyn describes ‘Toxic Playground’ as a mixed media installation that comprises of photography, video and found objects through which she examines how the Johannesburg mine dumps become palimpsests of personal memory and toxicity. The ‘Toxic Playground’ installation consists of 100kg of sand which was collected over three months from the Riverlea mine dump – this is of significant sentiment to Robyn as she grew up in the community situated right next to the dump.

    ‘Toxic Playground’ is emblematic of the socio-economic and environmental issues currently facing the residents of the area, and essentially speaks to the community’s concerns. This is because the city’s mine dumps have been normalized to be included in the community’s everyday landscape, yet they are severely toxic. They symbolize the exploitative deep-rooted nature of the city. Robyn’s body of artwork raises important questions that require effective answers such as: “what should be done with remnants of the city’s division post-conflict, post-apartheid state? What influence do memory and remembrance of these places have on transformation of the city’s spatial morphology (formation), identity and flows of everyday urban life?”.

    In all aspects of this work Robyn does the job of detecting the intersection between history, heritage, identity, displacement and space. Robyn eloquently expresses how she is “interested in the city as a living organism and how the tangible and intangible fragments meet and overlap to form a lived experience”. An in-depth interpretation of Robyn’s artwork demonstrates that she thinks of Johannesburg in various ways. She sees the city as a complex living organism in which certain spaces act as remnants of personal memory and of an overlapping history. In addition to this, her unique artwork illustrates a vivid relationship that the city of Johannesburg presents between space and identity.

    Robyn is open to collaborate with people outside of the art industry such as historians, architects and urban planners. She would also like to have to the opportunity to exhibit her work at more experimental spaces. Having showcased at Wits Art Museum, The Point of Order as well as Nothing Gets Organised and with the hopes of showcasing at Zeitz MOCAA someday, Robyn is truly one fearless trailblazer who is more than ready to get her message across.

  • Io Makandal – To Meet The Threshold

    Misconceptions about being an artist abound within society. Most people think we just sit around aimlessly until inspiration strikes. But if To Meet The Threshold has shown me anything, it’s the value of the dogged persistence of an artist striving to fulfill their vision. The installation enveloping the viewer is just one of a series of what Io Makandal calls “tactile drawings,” made over the last two years as part of her multidisciplinary creative practice. In the past however, these frame-shattering drawings have usually been restricted to a single wall or a corner. At No End Contemporary Art Space, Makandal had the entire space to work with. The long narrow structure of the gallery unsurprisingly caught the artist’s eye, a concept took hold and the necessary arrangements were made with the gallery to hold a show.

    In a previous article I observed how, for me, No End had begun to read as one of Johannesburg’s many alleyway’s, albeit, with good lighting and artworks on sale. It is this feature that I again felt was highlighted beautifully through Makandal’s intervention. The single corridor pulled the viewer in one direction, and gave no opportunity to tip toe around the installation, or view if from a distance. From the onset it outlined clear rules of engagement with its audience; enter and experience. Be engulfed. What were we asking to experience though? There was clear evidence of urban existence: broken chunks of concrete, dirty traffic cones, piping, housing insulation, and refuse, windswept around the gallery, suspended in mid-air, littering the floor. Alongside this urban debris were signs of natural life, or what was at least once alive; dead leaves, dead palm branches, twigs and a skeleton, which I assumed had once belonged to a cow. The tension set up between the natural (in its deceased and decaying state) and the urban, which for us in the twenty first century is our area of primary habitat, was striking.

    But it didn’t simply end there. If it had I might be writing how the installation was a reflection of the overwhelming urbanisation and the effect this has on nature. However, the third element (if I can so crudely group them like this) that I picked out was that of pure line and colour. Coloured string hung from the walls and the ceiling, draping down onto the floor. Neon duct tape covered the surface of the gallery, supporting objects on the wall or cutting through the harsh geometric surrounds. And little fluffy balls were pinned everywhere, little splashes of colour that then expanded when a balloon or party plate came into view. Makandal’s work makes me imagine what might have happened had Joan Miro worked in Johannesburg as an artist. There is the grunge and grit of this urban stew mixed in with transcendental moments of colour and form that seem to have jumped in from another dimension.

    Makandal’s work has a formal consistency that, even in three dimensions, reads similarly to one of her painting or drawing works. This similarity is not however where the work ends, for through the reference to the two dimensional works, a tension is set up. A tension between two dimensions and three that starts to bring to the foreground materiality, spatial concerns, and probably most intriguing for me, the human body. In a world of overwhelming complexity, detritus and structure, there was a single direct reference to the human body, a curled finger protruding from the wall, beckoning to the viewer. Asking to make the most solemn of vows, a pinky promise; we are invited to reengage with the possibilities that art present for our present reality.