Through inundating the canvas with paint, it will be demonstrated that Masamvu through the facility of the canvas has acquired a spiritual outlet for expressing not just his emotions, but also the means to represent the body in its dynamic and corporeal forms. The artist states that this exhibition was ‘’…celebration and … a dance’’.
Author: Themba Tsotsi
Oswald Dennis’ work is usually characterised by intricate topographical images that discourse the impact of colonialism on the African continent. In the ‘Options’ exhibition the artist showed that he is concerned with the impact of colonialism on the existential and ontological space. Intricate works or drawings also characterise this show, but their relationship with text is characterised by words that denote prepositions, text that articulate a sense of relevance in the protracted post-colonial present.
(text on home page)
Themba Tsotsi on the work of the South African artist Nolan Oswald Dennis
Nitegeka’s exhibitions make the audience conscious of the exhibition space; the audience member comes to form part of the exhibition this way. (…)Perception in a Nitegeka exhibition is significant to the extent that its extension related the audience member to the physical malleability of the gallery space.
Themba Tsotsi on the work of Burundi born, Johannesburg based Serge Alain Nitegeka (1983)
Colour and Form. LXXII, 2018
Dhlamini utilised the concept of time as historic through the fleeting moment of the camera lens to examine social ills in contemporary South Africa.
The South African critic Themba Tsotsi on the photographer Jabulani Dhlamini
Kwa Qawekazi Orlando West, 2018
By engaging African ritualistic elements in order to invoke themes of historic healing, the artist demonstrates the measure with which what is perpetual about the moral putrefaction that characterizes society is persevered by what is ambiguous between the play of history and time, and between historic moments and contemporary examination.