Embedded Files
MASKS: Oil on cloth, 2020
MASKS: Oil on cloth, 2020
Title: Masks I
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks II
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks III
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks IV
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks V
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks VI
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks VII
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks VIII
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks IX
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks X
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XI
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XII
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XIII
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XIV
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XV
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
Title: Masks XVI
Medium: Oil on cloth
Size: 100 x 120 cm
Date: 2020
PRIMARY WOMEN-BLUE,YELLOW,RED: acrylic on cloth, 2020
PRIMARY WOMEN-BLUE,YELLOW,RED: acrylic on cloth, 2020
Michael Matthews: PRIMARY WOMEN Series
Michael Matthews: PRIMARY WOMEN Series
Michael Matthews' series "PRIMARY WOMEN - BLUE, YELLOW, RED" presents an exploration of South African cultural identity through the lens of traditional feminine head coverings. This collection of 18 acrylic on cloth works, each measuring 100 x 120 cm, transforms the fundamental visual language of primary colors into a powerful dialogue about heritage, identity, and cultural coexistence in contemporary South Africa. The series explores three cultural traditions of the South African feminine experience: the Zulu isicholo worn by married women, representing the persistence of African indigenous practices; the Afrikaans kappie, emblematic of Dutch colonial heritage and agricultural tradition; and the Cape doek, symbolising the unique cultural identity that emerged from the historical confluence of African, European, and Asian influences. Together, these elements create a visual conversation that acknowledges South Africa's complex multicultural reality while celebrating the often-overlooked role of women as carriers of cultural knowledge.
Matthews' artistic strategy demonstrates remarkable sophistication in its apparent simplicity. By limiting his palette to primary colors—red, blue, and yellow—he creates multiple layers of meaning that extends far beyond mere aesthetic choice. This reductionist approach strips away decorative complexity to focus attention on form and cultural significance, while the use of foundational colors suggests these cultures as fundamental elements of South African identity. The democratic treatment ensures no single tradition receives preferential visual weight, avoiding the hierarchical implications that more naturalistic rendering might suggest. Set against dramatic black backgrounds and outlined in white chalk, each cultural symbol commands attention as an objects worthy of contemplation and respect. The format elevates these everyday cultural objects to a personal status, while the hand-drawn quality of the chalk outlines maintains an intimate, accessible connection between artist and subject. The choice of acrylic on cloth rather than traditional canvas adds another layer of meaning, connecting to the textile traditions inherent in these head coverings while referencing their domestic and practical nature.
Created in 2020, the series emerges from a South Africa still negotiating its post-apartheid identity, offering a vision of cultural recognition and mutual respect rather than separation or hierarchy. The work participates in broader contemporary conversations about decolonising art and recognising indigenous and local cultural forms as legitimate subjects for serious artistic treatment. By focusing specifically on women's attire, Matthews highlights the crucial but often under recognised role of women in preserving and transmitting cultural traditions across generations.
The repetition across 18 variations speaks to the complexity and nuance within cultural identity—suggesting that no single representation can capture the full richness of cultural expression. This multiplicity acknowledges that cultural identity exists not as static artifact but as living, breathing practice that continues to evolve while maintaining its essential character. The stark, contemporary presentation style places these traditional elements in dialogue with modern artistic language, demonstrating how heritage can remain vital and relevant in contemporary life. Matthews successfully bridges international artistic movements such as color field painting and minimalism with distinctly South African content, creating work that speaks simultaneously to local and global audiences. The series functions as both artistic achievement and cultural archive, preserving important traditions while presenting them through a fresh visual vocabulary that invites broader dialogue about identity, heritage, and belonging.
The work's strength lies in its ability to honor cultural specificity while employing universally understood artistic elements. Rather than appropriating or oversimplifying these rich traditions, Matthews creates respectful space for cultural celebration that acknowledges complexity while remaining accessible to diverse viewers. The series demonstrates the potential for contemporary art to serve as a bridge between traditional cultural knowledge and modern artistic expression, fostering understanding and appreciation across South Africa's diverse communities. "PRIMARY WOMEN - BLUE, YELLOW, RED" represents a significant contribution to South African contemporary art, offering a model for how artists can engage meaningfully with cultural heritage while pushing artistic boundaries. The series stands as both formal achievement and cultural commentary, creating visual language that celebrates difference while emphasising shared humanity and the ongoing importance of cultural preservation in an increasingly globalised world.
Lot number: PWW001
Title: Primary Women-Blue, Yellow, Red 1
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW002
Title: Primary Women-Blue, Yellow, Red 2
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW003
Title: Primary Women-Blue, Yellow, Red 3
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW004
Title: Primary Women-Blue, Yellow, Red 4
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW005
Title: Primary Women-Blue, Yellow, Red 5
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW006
Title: Primary Women-Blue, Yellow, Red 6
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW007
Title: Primary Women-Blue, Yellow, Red 7
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW008
Title: Primary Women-Blue, Yellow, Red 8
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW009
Title: Primary Women-Blue, Yellow, Red 9
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW010
Title: Primary Women-Blue, Yellow, Red 10
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW011
Title: Primary Women-Blue, Yellow, Red 11
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW012
Title: Primary Women-Blue, Yellow, Red 12
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW013
Title: Primary Women-Blue, Yellow, Red 13
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW014
Title: Primary Women-Blue, Yellow, Red 14
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW015
Title: Primary Women-Blue, Yellow, Red 15
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW016
Title: Primary Women-Blue, Yellow, Red 16
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW017
Title: Primary Women-Blue, Yellow, Red 17
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
Lot number: PWW018
Title: Primary Women-Blue, Yellow, Red 18
Medium: Acrylic on cloth
Size: 100 x 120 cm
Date: 2020
COLOUR WHEEL: Oil on cloth, 2019
COLOUR WHEEL: Oil on cloth, 2019
Title: Colour Wheel I
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel II
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel III
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel IV
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel V
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel VI
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Colour Wheel VI
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
DISTILLING FLASK: Oil on cloth, 2019
DISTILLING FLASK: Oil on cloth, 2019
Title: Distilling Flask I
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask II
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask III
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask IV
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask V
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask VI
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
Title: Distilling Flask VII
Medium: Oil on cloth
Size: 100 x 100 cm
Date: 2019
PRIMARY PAPER WOMEN: tempera on paper, 2018
PRIMARY PAPER WOMEN: tempera on paper, 2018
Primary Paper Women series (2018)
Primary Paper Women series (2018)
The "Primary Paper Women" series represents an exploration of color racial theory through the lens of portraiture, challenging conventional chromatic hierarchies while embracing the inherent qualities of tempera as a medium. By positioning green as a "light primary" alongside the traditional red and blue, the artist disrupts established color relationships, suggesting an intuitive rather than theoretical approach to pigment interaction. This unconventional palette choice reflects a deeper understanding of how colors function within the specific context, where the medium's opacity and quick-drying properties create unique optical effects that differ from oil or acrylic applications.
The deliberate use of muted tones serves multiple conceptual purposes, moving away from the boldness typically associated with primary colors toward a more contemplative and harmonious visual language, suggesting the past. This restraint allows the spontaneous brushwork to take precedence, where gestural mark-making becomes as important as color in defining the subjects. The spontaneity of execution creates a tension with the calculated color scheme, suggesting portraits that are both abstracted and emotionally immediate. The paper substrate further emphasises this duality as it has an absorbent quality, creating soft edges and subtle color bleeding that enhance the muted palette's gentle transitions.
The series title itself—"Primary Paper Women" creates a conceptual framework that positions the female subjects as fundamental elements, paralleling the primary colors' role as the building blocks of the chromatic spectrum. This parallel suggests that the women depicted are not merely subjects but essential components of a larger artistic investigation into identity, representation, and the nature of foundational elements within both color theory and human experience during post South Africa Apartheid. The harmonious integration of colors through the muted colour harmonies reflects on an artistic process where technical control and emotional expression achieve balance, resulting in portraits that feel both structurally sound and alive with creative energy.
Lot number: PPW001
Title: Primary Paper Women 1
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW002
Title: Primary Paper Women 2
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW003
Title: Primary Paper Women 3
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW004
Title: Primary Paper Women 4
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW005
Title: Primary Paper Women 5
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW006
Title: Primary Paper Women 6
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW007
Title: Primary Paper Women 7
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW008
Title: Primary Paper Women 8
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW009
Title: Primary Paper Women 9
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW010
Title: Primary Paper Women 10
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW011
Title: Primary Paper Women 11
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW012
Title: Primary Paper Women 12
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW013
Title: Primary Paper Women 13
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW014
Title: Primary Paper Women 14
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW015
Title: Primary Paper Women 15
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW016
Title: Primary Paper Women 16
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW017
Title: Primary Paper Women 17
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW018
Title: Primary Paper Women 18
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW019
Title: Primary Paper Women 19
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW020
Title: Primary Paper Women 20
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW021
Title: Primary Paper Women 21
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW022
Title: Primary Paper Women 22
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW023
Title: Primary Paper Women 23
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW024
Title: Primary Paper Women 24
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW025
Title: Primary Paper Women 25
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW026
Title: Primary Paper Women 26
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW027
Title: Primary Paper Women 27
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW028
Title: Primary Paper Women 28
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW029
Title: Primary Paper Women 29
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW030
Title: Primary Paper Women 30
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW031
Title: Primary Paper Women 32
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW032
Title: Primary Paper Women 32
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW033
Title: Primary Paper Women 33
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW034
Title: Primary Paper Women 34
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW035
Title: Primary Paper Women 35
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW036
Title: Primary Paper Women 36
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW037
Title: Primary Paper Women 37
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW038
Title: Primary Paper Women 35
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW039
Title: Primary Paper Women 36
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW040
Title: Primary Paper Women 40
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW041
Title: Primary Paper Women 41
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW042
Title: Primary Paper Women 42
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW043
Title: Primary Paper Women 43
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW044
Title: Primary Paper Women 44
Medium: Tempera on paper
Size: A3
Date: 2018
Lot number: PPW045
Title: Primary Paper Women 45
Medium: Tempera on paper
Size: A3
Date: 2018
PRIMARY WOMEN: tempera on cloth, 2018
PRIMARY WOMEN: tempera on cloth, 2018
Lot number: PW001
Title: Primary Women 1
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW002
Title: Primary Women 2
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW003
Title: Primary Women 3
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW004
Title: Primary Women 4
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW005
Title: Primary Women 5
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW006
Title: Primary Women 6
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW007
Title: Primary Women 7
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW008
Title: Primary Women 8
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW009
Title: Primary Women 9
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW010
Title: Primary Women 10
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW011
Title: Primary Women 11
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW012
Title: Primary Women 12
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW013
Title: Primary Women 13
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW014
Title: Primary Women 14
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW015
Title: Primary Women 15
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW016
Title: Primary Women 16
Medium: Tempera on cloth
Size: 120 x 100 cm
Date: 2018
Lot number: PW017
Title: Primary Women 17
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW018
Title: Primary Women 18
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW019
Title: Primary Women 19
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW020
Title: Primary Women 20
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW021
Title: Primary Women 21
Medium: Tempera on cloth
Size: 100 x 100 cm
Date: 2018
Lot number: PW022
Title: Primary Women 22
Medium: Tempera on cloth
Size: 100 x 100 cm
Date: 2018
Lot number: PW023
Title: Primary Women 23
Medium: Tempera on cloth
Size: 100 x 100 cm
Date: 2018
Lot number: PW024
Title: Primary Women 24
Medium: Tempera on cloth
Size: 100 x 100 cm
Date: 2018
Lot number: PW025
Title: Primary Women 25
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW026
Title: Primary Women 26
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW027
Title: Primary Women 27
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW028
Title: Primary Women 28
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW029
Title: Primary Women 29
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW030
Title: Primary Women 30
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
Lot number: PW031
Title: Primary Women 31
Medium: Tempera on cloth
Size: 100 x 120 cm
Date: 2018
MODEL & ARTIST: acrylic on paper, 2017
MODEL & ARTIST: acrylic on paper, 2017
Lot number: AM001
Title: Model & Artist 1
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM002
Title: Model & Artist 2
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM003
Title: Model & Artist 3
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM004
Title: Model & Artist 4
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM005
Title: Model & Artist 5
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM006
Title: Model & Artist 6
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM007
Title: Model & Artist 7
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM008
Title: Model & Artist 8
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM009
Title: Model & Artist 9
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM010
Title: Model & Artist 10
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM011
Title: Model & Artist 11
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM012
Title: Model & Artist 12
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM013
Title: Model & Artist 13
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM014
Title: Model & Artist 14
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM015
Title: Model & Artist 15
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM016
Title: Model & Artist 16
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM017
Title: Model & Artist 17
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM018
Title: Model & Artist 18
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM019
Title: Model & Artist 19
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM020
Title: Model & Artist 20
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM021
Title: Model & Artist 21
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM022
Title: Model & Artist 22
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM023
Title: Model & Artist 23
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM024
Title: Model & Artist 24
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM025
Title: Model & Artist 25
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM026
Title: Model & Artist 26
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM027
Title: Model & Artist 27
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM028
Title: Model & Artist 28
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM029
Title: Model & Artist 29
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM030
Title: Model & Artist 30
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM031
Title: Model & Artist 31
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM032
Title: Model & Artist 32
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM033
Title: Model & Artist 33
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM034
Title: Model & Artist 34
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM035
Title: Model & Artist 35
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM036
Title: Model & Artist 36
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM037
Title: Model & Artist 37
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM038
Title: Model & Artist 38
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM039
Title: Model & Artist 39
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM040
Title: Model & Artist 40
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM041
Title: Model & Artist 41
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM042
Title: Model & Artist 42
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM043
Title: Model & Artist 43
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM044
Title: Model & Artist 44
Medium: Acrylic on paper
Size: A3
Date: 2017
Lot number: AM045
Title: Model & Artist 45
Medium: Acrylic on paper
Size: A3
Date: 2017
ANAMNESIS SERIES (2012 - 2018)
ANAMNESIS SERIES (2012 - 2018)
MEDIUM: ACRYLIC BASE, OIL ON CANVAS.
The Anamnesis is a series about remembering or recalling our recent past. The recent past of South Africa and in the broader sense of South African culture. The Anamnesis series uses metaphor to explore the idea that women perpetuate the atrocities of humanity. Women are used as a symbol of the power of matriarchy and the main transmitter of cultural values. The works attempt to recall stereo types in a South African recent history. The women have been presented as a ‘Venus’ type figures; a symbol of fertility and fecundity. At the same time the women’s sexual organs, that are stylized, are displayed as weapons. The women are aggressive and independent, in no way is she going to be seen as a victim. She is taking responsibility for her role in history and in culture.
All the women are depicted as the same with only one item identifying their cultural group. The hat is used to symbolise the cultural group of the woman – the ‘kappie’ for Boer, the ‘ischolo’ for Zulu and the head veil, hijab, Berka or Niqab for Muslim, Catholic and Judeo-Christian women. The image of the woman in ‘Anamnesis I _VIII’ is juxtaposed with a metaphor for/of their culture.
ANAMNESIS I - VOLKSWERK
ANAMNESIS I - VOLKSWERK
TITLE: ANAMNESIS I - VOLKSWERK
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2012 – 2018
SIZE: 2800 X 2860 mm
(Two panels each 2800 x 1430 mm)
In ‘Anamnesis - Volkswerk’ the Boer woman is juxtaposed with a cesspool of snakes that have been embroidered into a cloth. The snake literally seen as a symbol of evil as found in the biblical story of the Garden of Eden with Eve as the temptress of man. In this work, she sews the snake into a pattern of her design, an emblem, revealing her power. Unlike historical Venus’s in this work she ignores the viewer and gazes at the fruit of her labour in a longing way.
ANAMNESIS II
ANAMNESIS II
TITLE: ANAMNESIS II.
MEDIUM: ACRYLIC BASE, OIL ON CANVAS.
DATE: 2012 – 2018.
SIZE: 2800 X 4290 mm.
(Three panels each 2800 x 1430 mm)
In ‘Anamnesis II’ the Zulu woman is juxtaposed with a crocodile that has a threaded surface that typifies beadwork and a detail of her hand. The crocodile is an ancient creature that seemingly reflects a subconscious state and is often considered by many cultures to be the physical manifestation of an ancestor. The hardened protective skin seems to have a beaded finish in its regular repetitious shapes and smooth surface. Beadwork is traditionally considered to be women’s work and an ‘isicabha’ (apron) of sewn beads is worm protectively in front of the genitals in many ceremonies – such as at the wedding ceremony. In this work the woman is possibly involved in a ceremony as she dances a rhythmic dance which is echoed by the serpentine movement of the crocodile.
ANAMNESIS III - SLEGSVOLK
ANAMNESIS III - SLEGSVOLK
TITLE: ANAMNESIS III - SLEGSVOLK
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2012 – 2018
SIZE: 2800 X 4290 mm
(Three panels each 2800 x 1430 mm)
In ‘Anamnesis – Slegsvolk’ the Muslim or Judeo-Christian woman is juxtaposed with a shark and an open hand. The woman confronts the viewer in a challenging way – front on. The open hand seemly has vagina stigmata on it, or a henna design, suggestive of a third eye. Note that the tips of the fingers are dipped in gold, as with the teeth and jihab. The shark, also cunt-like is volumetrically contrary to the fecund pregnant woman. A void verses a solid. Aggressive and threatening seemingly the mouth of death rather than of birth. The jihab is interesting in itself in that is seen on the one hand as suppressing women’s identity whereas many people see it as liberating women removing them from been objectification.
ANAMNESIS IV - VOLKSHEID
ANAMNESIS IV - VOLKSHEID
TITLE: ANAMNESIS IV – VOLKSHEID
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2012 – 2018
SIZE: 2800 X 2860 mm
(Two panels each 2800 x 1430 mm)
YouTube Video: Michael Matthews Anamnesis Volksheid – http://www.youtube.com/watch?v=76s4HYwklI8
ANAMNESIS V
ANAMNESIS V
TITLE: ANAMNESIS V
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2012 – 2018
SIZE: 2800 x 1430 mm
ANAMNESIS VI - VOLKSPELE
ANAMNESIS VI - VOLKSPELE
TITLE: ANAMNESIS IV – VOLKSPELE
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2016 – 2018
SIZE: 2800 X 4290 mm
(Three panels each 2800 x 1430 mm)
YouTube Video: Michael Matthews: Anamnesis-Volkspele – http://www.youtube.com/watch?v=uZrBgfXziOA
ANAMNESIS VI - VOLKSTROT
ANAMNESIS VI - VOLKSTROT
TITLE: ANAMNESIS VI – VOLKSTROT
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2020 – 2018
SIZE: 2800 X 4433 mm
(Four panels each 2800 x 1430 mm)
YouTube Video: Michael Matthews: Anamnisis – Volkstrot – http://www.youtube.com/watch?v=jZ8nGYDSeZY
ANAMNESIS VII - VOLKSHERTAAL
ANAMNESIS VII - VOLKSHERTAAL
TITLE: ANAMNESIS VII – VOLKSHERTAAL
MEDIUM: ACRYLIC, OIL ON CANVAS
DATE: 2015-2018
SIZE: 2800 X 4290 mm
(Four panels each 2800 x 1430 mm)
YouTube Video: Michael Matthews Anamnesis Volkshertaal – http://www.youtube.com/watch?v=iTQfPMvkT6I
ANAMNESIS VIII - VOLKSTAAL
ANAMNESIS VIII - VOLKSTAAL
TITLE: ANAMNESIS VIII – VOLKSTAAL
MEDIUM: ACRYLIC BASE, OIL ON CANVAS
DATE: 2020 – 2018
SIZE: 2800 X 4433 mm
(Four panels each 2800 x 1430 mm)
YouTube Video: Michael Matthews Volkstaal – http://www.youtube.com/watch?v=GIwmJaRCoqg
REVIEW: ANAMNESIS – VOLKS SERIES
“’Anamnesis’ is a series about remembering or recalling our recent past. The recent past of South Africa and in the broader sense of South African culture. The ‘Anamnesis’ series uses metaphor to explore the idea that women perpetuate the atrocities of humanity. Women are used as a symbol of the power of matriarchy and the main transmitter of cultural values”
According to the artist, women are just as guilty in perpetuating violence within their community as the men are of committing these acts – the power of matriarchy and choice being their main tools, tools that are used to mould and maintain cultural values in the fight for survival of the fittest. A power that transforms victim into warrior.
The ‘Anamnesis’ series explores this concept within various cultural groups of South Africa, each group being identified by a traditional hat. Each image/group is then “juxtaposed with a metaphor for/of their culture”.
‘Anamnesis I, II and III’: the question that immediately comes to mind is ‘what has the artist based his juxtaposed metaphors on?’ Are the snake, the crocodile and the shark truly indicative of these cultures? Can such generalizations hold value? After further contemplation it suddenly becomes apparent that there are possibly two levels of commentary going on here: The concept that women are guilty of perpetuating violence within their community and also how these perpetuation’s have affected the artist on a personal level. The 3 women of Anamnesis: The evil temptress – gazing upon her manipulated emblem of embroidered cesspool-ish snakes, while a snake slithers out from between her thighs. The ceremonial dancer – moving about in a subconscious (possible wedding) trans-dance – her rhythm echoed in the serpentine movement of the crocodile. Interesting is the inclusion of ‘detail of her hand’ – thereby individualizing her. The aggressive challenger– boldly facing the viewer head on from behind a gold mask, gold teeth and gold fingertips which possibly indicate the transient nature of the hidden – void verses solid, death verses birth? Again we see a hand but this time with a vaginal ‘weapon’ depicted as a third eye in the palm.
The next four pieces appear to tell a story of battle between cultures and women. In ‘Anamnesis – Volksheid’ a Zulu woman faces a Boer woman head on, possibly ready for battle as indicated by the pointed weapon. The Boer does not confront the Zulu but glances over at her. In the far right panel the coloured woman is standing alone, possibly gearing up for battle as depicted by the boldly displayed sexual organs, weapon and symbolic head gear. In ‘Anamnesis – Volkspele’ the Boer woman is now engaging in the struggle, staking claim to what she sees as hers – the ‘gold pieces’. The Zulu woman appears to have lost sight of the goal and seems to be appealing to the viewer for assistance. In ‘Anamnesis – Volkstrot’ the viewer is witness to a ritual or celebratory dance. In context of the series the viewer can ask if the Boer women have claimed the gold pieces and are now reveling in their victory. Could these depictions be a comment on a period of South African history or is there more to the story than initially meets the eye?
Dianne Michael
Dianne lives and works in Canada, Montreal.
THE ART OF SIN SERIES (2012)
THE ART OF SIN SERIES (2012)
ART OF SIN: 03
Lot number: AOS003
Medium: Oil on canvas
Size: 60 x 92 cm
Date: 2012
Price: R36 500
ART OF SIN: 04
Lot number: AOS004
Medium: Oil on canvas
Size: 60 x 92 cm
Date: 2012
Price: R36 500
ART OF SIN: 05
Lot number: AOS005
Medium: oil on canvas
Size: 60 x 92 cm
Date: 2012
Price: R36 500
ART OF SIN: 06
Lot number: AOS006
Medium: Oil on canvas
Size: 60 x 92 cm
Date: 2012
Price: R36 500
NECROMANCER SERIES (2011)
NECROMANCER SERIES (2011)
Necromancer is a series that deals with issues and processes of mental healing.
Importantly the symbolical water is oil paint and/or varnish. The artist’s mediums of healing, and so once again the artist as necromancer in these works and uses magic to transform the world.
In this series I was looking at the guilt felt by men; the guilt about the violence of men against women. I tried to identify different types of women as found in the shape of the female form. The schematic body shapes that I found were symbolically related to common objects through an objectification process. The female body shapes that I identified with were an assortment of natural and man-made forms ranging from the apple, pear, hourglass, etc.
The hypothesis that interested me was the idea of how women forgive men who abuse them; this issue can also be understood as a metaphor for the broader social context of abuse inherent in the apartheid mentality. He problem is exasperated when the guilty is a type or unidentifiable. In South Africa a system of pardoning was set up where over a period of time perpetrators of violence or inhumanities could confess their guilt and a ‘pardon’ or amnesty could be awarded by those set up by the society to be judges.
Amnesty seemed to deal with a healing process on a social level, but I still had a problem with the victims on an individual level. Turning to my readings in Greek anthropology I found it interesting that upon death the Greeks believed that the spirit needed to be ferried across various rivers before entering the land of the dead. One such river was ‘Leith’. The myth ascertains that those who fell into this river would lose all their memories – they would join the lost people.
In the Necromancer series, the works symbolically represent those women, as presented by schematic types, who had fallen into the river Leith; and so, had found the only way I believe to truly forgive. The river Leith is a metaphor for the process of forgiving. In other words, the works offer a solution to the problem of forgiving. These problems are presented by Derrida in his lectures on ‘the gift’ and ‘the unwanted gift’.
The idea of washing away in a symbolical process can be found in many instances and rituals in multifarious cultures and sectors, such as in Christian baptism where a state of change is symbolically portrayed through the submersion in water.
On another level, the artist has used his tools of physicality and illusion (water, oil and paint) in an act of creation to wash away the images and illusionism (the crimes of man). The artist plays a shamanistic role in social healing.
The solution to man’s inhumanity to man in these works is found in a ritual where the past is forgotten, and this is offered as a solution to the act of forgiving.
Necromancer I (2010).
Oil on Canvas (1860 x 890 mm)
Necromancer II (2010).
Oil on Canvas (1860 x 890 mm)
Necromancer III (2010).
Oil on Canvas (1860 x 890 mm)
Necromancer IV (2010).
Oil on Canvas (1860 x 890 mm)
Necromancer V (2010).
Oil on Canvas (1860 x 890 mm)
Necromancer VI (2010).
Oil on Canvas (1860 x 890 mm)
REVIEW: NECROMANCER
According to the artist “Necromancer is a series that deals with issues and processes of mental healing”, more specifically the issues and processes of the guilt felt by men as a result of male violence towards women and also the question of if it is possible for women to truly forgive the men who have abused them.
Guilt: dictionaries define it as a feeling of responsibility or remorse for some offence. Forgiveness: dictionaries define it as to stop feeling anger towards, to stop blaming and also to stop ‘requiring payment’. Interesting that the artist makes reference to Derrida’s gift/unwanted gift. One would have to ask what the gift is – the abuse, the guilt or both? In South Africa (where the artist is based) a system of pardoning was set up where over some time perpetrators of such violence could confess and request a pardon for their inhumanities. This form of amnesty offered a solution for releasing guilt, but was it effective enough to bring about forgiveness?
In his quest for an answer, Matthews came upon an interesting concept. “Turning to my readings in Greek anthropology I found it interesting that upon death the Greeks believed that the spirit needed to be ferried across various rivers before entering the land of the dead. One such river was ‘Leith’. The myth ascertains that those who fell into this river would lose all their memories – the past being erased.
The women in Necromancers I, II and III appear to be specific, with each identity indicated through body type and use of colour. No evidence of violence is indicated, leaving one to wonder about the nature of the crime. Images IV and V indicate violence to the individuals. Images VI and VII indicate violence to the individuals, but this time there is a dramatic use of black to paint out the images as if eradicating from memory.
So does this methodology work? Can the washing away of memories remove all traces of violence and guilt and would this be considered forgiveness? Has the Necromancer successfully performed his magic? Is his Shamanic role in social healing complete? One would have to go back to images IV and V, where even though there has been a washing away process and images VI and VII where even though there has been a blotting out action, remnants of the crime, the victim and the guilt remain, monumentalised in the works.
CULTURAL WEAPONS (2003)
CULTURAL WEAPONS (2003)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
Cultural Weapons Series
Cultural Weapons Series
Spray paint, Koki, ink on paper. (A4 size)
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