| Tim Dempers. 1974 South Africa |
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Tim
Dempers’ three-dimensional paintings explore the potential
identity of lines, using digital media to exploit new possibilities
in painting. Dempers uses algorithms and parametric modelling
to create three-dimensional paintings from his sketches. His
work is based on exploiting components of kinetic energy exerted
in the drawing of a line - acceleration, direction, pressure,
distribution etc. - and allowing them to serve as catalysts for
his work. In “Code Unknown” fibreglass strips undulate
rhythmically around a transparent frame. By harnessing “the
entropy of a line”, Dempers proffers an original paradigm
from which to understand the synthesis of form and content.
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| Michael Elion. 1975 South Africa |
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Michael
Elion’s work deals with aesthetics and visual perception.
The highly formal content is drawn largely from the natural world.
His interest in representation and language, and their relationship
to aesthetics, come together in a dialectic of seemingly antithetical
works. The words KATE MOSS emblazoned in gold leaf confront an
enormous, ugly, yet beautiful fly. Elion’s use of juxtaposition
in the presentation of different works serves as an auxiliary
aesthetic tool, each work acting as a perceptual prosthesis for
the other. His research interest in cognitive science is evident
in his chequer pattern, tropical aquariums that intend to defy “the
inherent desire of the brain for order”.
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| Andre Niemeyer , 1969 Brazil |
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Andre Niemeyer’s
aesthetic sensitivity is clearly rooted in his fashion background.
The young men in his “Wanted” series (mug shot type
paintings) are beautiful, impassive and damaged and evoke
ambiguity.
Are they victims of abuse or victims of their own narcissistic
invincibility? Heroic yet delicate, the duality reveals the ineluctable
vulnerability of youth and the fragility of romanticized masculinity.
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| Sandra Pfeifer. 1976. Austria |
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Sandra Pfeifer
uses mannequins as subjects in her photographs, and in so doing
initiates a deceptive dialogue with the viewer. Each of the mise-en-scenes
in her “Dummy” series is based on marginal female figures
like Anita Berber, “society whores”, who are both desired
and pitied.
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| Kathrin Kur. 1975 Germany |
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Kathrin
Kur’s photographs reveal some of the blindspots of our
experience in a culture of absolute visibility. Her empty, bullet-ridden
shooting ranges invite ambivalence, using a seductively calm
aesthetic to portray a practice-ground for killing. |
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