A Crescendo of Ecstasy


Copyright 2018 edenlabs

Photograph by Jono Wood

Wayne Barker

x J.H Pierneef

The Gaze can be seen as a visual diary of Wayne Barkers’ life and a chronology of the encounters which include other artists, musicians, dancers, models and the media which has been so pervasive in our era. One of the most important of these encounters has been with the work of Pierneef. It was Pierneef (or more specifically Pierneef’s version of the land) to whom Barker turned in his early critiques. 

Wayne Barker’s ardently layered subversions of the commodification of “African identity” is a digital response to J.H. Pierneef’s stylistic ability to assure balance of form, colour and composition as a way of effectively evoking the atmosphere of the unspoilt African landscape.

Lady Skollie x

Gerarard Sekhoto

Lady Skollie, born Laura Windvogel, depicts the female form as a site of tension, the tipping point between self-actualized ownership versus male-dominated possession. The illustrative and playful nature  of her work is easily translated and amplified as virtual sculpture, part of her response to Gerard Sekoto’s Blue Head.

Deep blues mirror that of Sekoto’s 1960’s work blue head while a legion of eyes watch the viewer as the viewer watches back, in a constant loop of being consumed by ‘thegaze’.

This work entitled “Oh No, I Just Like watching, Thanks” , Lady Skollie tells a story about her relationship with her vulnerability, martyrdom of the coloured woman in relation to the tragedy of Ellen Pakkies, and her admiration for the work of the late Gerard Sekoto.  



I keep thinking of all the vulnerable drawings Sekoto made of women, the way he represented them. I try to be just as vulnerable but my voyeurism has taken a different angle. My vision is blurry from all the filth; I can’t see straight. I can’t see at all. I’ve seen too much probably. I’ve been watching you watching me watching you watching me.” 

- Lady Skollie

Visitors to the gallery could interact with Lady Skollies virtual drawing entitled "Watch The Expulsion" via a Virtual Reality headset suspended in the gallery, or peer through a peephole and watch another persons projected experience in the ultimate virtual voyeuristic encounter

Lady Skollie’s work provides a playful, edgy, interaction with Gerard Sekoto’s painting Blue Head. Here the VR consists of a tilt-brush painting, which can be examined from all angles but the added introduction of peepholes in the gallery walls opens the work up to an interrogation of ideas around voyeurism and morbid curiosity – when you peer through them you see what the VR viewer using the headset is experiencing – the boundaries between private and public thus melting together, creating a communal experience.

— Tymon Smith - Art Throb



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