Gordon Froud "Abstrakt"

ABSTRAKT

Sculpture on the Cliffs Fynarts, Hermanus June 2019

By Gordon Froud

was approached by festival organizer

I Mary Faure to curate the Sculpture on the cliffs 2019 around the theme of abstraction. I looked back into the history of abstract sculpture from the 1920s to the present in order to contextualize this show. This included a closer reading of Modernist abstraction and later postmodern abstraction. The primary result is nonfigurative show (even though there are object that refer to the human body or its function) Abstraction is about form, shape, colour, texture, pattern and suggestion rather than the realistic portrayal of a subject matter. This might lead to abstract thought such as the metaphysical, how does one portray emotion or feeling or the idea of transcendence?

I scoured the internet to look at which artists regularly work with nonfigurative work as their art practice and selected a range of work and artist that spoke about the many faces or approaches to abstraction in the South African context. Artists, all of whom have not shown on the cliffs are: Kgaogelo Mashilo (Cow Mash), Thulani Zondo, Rodan Kane Hart, Sybrand Wiechers, Izanne Wiid, Sandile Radebe, Carol Kuhn, Sifiso Mkhabela, Ian Redlinghuys and Sophia Van Wyk.

The show encompasses geometric abstraction as seen in the work of Sandile Radebe and Sifiso Mkhabela, organic abstraction shown in the work by Carol Kuhn and Sophia Van Wyk as well as referential abstraction as seen in the work ‘Elevating Ego’ by Ian Redlinghuys. His piece (an oversized traditional chair) constructed in Aluminium refers to the body seated, but has no figure in it. Its scale monumentalises an everyday object and yet it can be read as a purely abstract form. Of this piece Redlinghuys says “A long held interest in this particular chair, (which is found all over Africa, and is locally referred to as “Lekgotla” chair, having no particular value, being made of scrap wood and very rarely constructed as a seat of importance,

but nevertheless employed in the “lekgotla”, or village council to seat the elders,) becomes an apt metaphor for the individual’s ‘elevation’ or self-importance, (ego), as well as the comfort of easy seating, being elevated from the ground.”

The range from across South Africa spans the Black/White/ Male/ Female parameters allowing the works to speak with a non-racial and non-gendered voice. There may of course be subtleties in the works that may hint at these classifications but this is not the important thing. The idea concept and execution should be such that it may transport the viewer to another place, realm or headspace – hopefully one of quietness, contemplation and beauty.

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