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The animals appear to be executed with the intention of a realistic interpretation. If examined closely this will seem to be an incorrect evaluation. They exist solely as exercises in the power of the use of line. There is no softening in the shading, the linear quality merely suggest the areas of light and darkness. Patterns (the lines of the Zebra, spots of the leopard and cheetah, fur and mane of the lion) are exaggerated in the way they sinuously follow the bodies underlying structures and curvature. Tinting is used to highlight areas of focus (eyes, mouth) as well as break the monochromatic appearance of the work. Where the sun or moon are not shown the tinting provides a mere hint of colour. In the sun and moon works colour provides a strong signifier. This is done to create areas of maximum interest in the overall linear framework of the works. On examination the works are an abstract arrangement of line, which on viewing as a whole takes on the illus ional appearance of reality. I work in this way so that each animal is a technical challenge, that in order to succeed must also provoke a feeling of movement and emotion, both in the pictorial representation as well as the viewer.
1999:Group Exhibition – Knysna Art Gallery, 1998:Group Exhibition – Reid Gallery, Knysna, 1996:Group Exhibition – Knysna Art Gallery, 1982:Group Exhibition – Gallery 21, Johannesburg, 1979:Book Illustrations – Macbeth – Haum Publishers, 1978:Book Illustrations – Maseru – Haum Publishers, 1975:Mural – Crucifixion – Sevenoaks, Kent, England, 1974:Two painting in Pierre Cardin Collection, Paris, France, 1973:One man Exhibition – Gallery 101, Johannesburg, 1971:One man Show – Gallery 101, Johannesburg
1985:MA Dramatic Art (WITS), 1968:BA Fine Arts Hon. (WITS)
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