March 03, 2020 - March 27, 2020
White River, South Africa
Distant Relatives
The term Distant Relatives essentially implies a degree of separation. The contemplative mixture of work in this two artist exhibition reveals significant overlapping ideas but also, the artists' intriguingly divergent thinking around this idea of dissociation.
About the Work
Karin Daymond presents medium- to large-scale oils on board and canvas and an evocative series of lithographic prints recently published by The Artists' Press in White River. Bevan de Wet uses monotypes, drawings incorporating handmade paper collages, etchings and linocuts. In addition, manipulated digital images form the basis of reference for other works, implying the notion of ‘mapping’ of our spaces, using fragments of plants and natural elements. In both artists’ work, the discipline of printmaking, the process of leaving a physical mark and relief on paper – can be likened to the stamps or marks reflective of scars on the earth and the land.
In both artists' work, the discipline of printmaking, the process of leaving a physical mark and relief on paper - can be likened to the stamps or marks reflective of scars on the earth and the land.
Karin writes: "Initially, my mind skipped over the accepted definition of Distant Relatives, aligning the words with my interest in belonging and longing. Geographical or emotional distance means that connections become stretched, and the longing for those we are connected to, tugs deeply. In the large painting, Push and Pull, my own kitchen table represents the place where connections are nurtured and distant relatives become closer, the ultimate symbol of belonging.
I also thought about our interconnectedness. We are inextricably woven into the natural world and yet we are increasingly able to isolate and insulate ourselves, despite lightning-fast communication. Through my work I am more immersed in the natural world and this is integral to my sense of belonging. I laughed out loud when I realised that I am more connected to my lichens (an obscure organism that is a combination of fungus and bacteria) than I am to my cousin in Australia!
My work seldom includes human forms and engaging the viewer becomes more challenging because we naturally respond first to a face or a hand, before we sense the prickly grass or the movement of a body of water from the way the light bounces off the surface. I have learnt to trust that we inherently make associations and find meaning in our natural world. Without this, we are in danger of becoming our own distant relatives".
Bevan writes: "In a time when we seem so globally interconnected, we are showing ourselves to be less inclusive and tolerant than ever. The global population is at its peak, and our consumption and demand are at an all time high. Feeding this need for consumption, our planet is facing catastrophic environmental and ecological strain. We have distanced ourselves from our ancestral values and become estranged from our natural environments. Distant Relatives explores man's growing sense of alienation from nature, rendering it a near forgotten and abstracted space, particularly in overdeveloped and densely populated urban environments."
