Art is in constant motion, transcending boundaries before we can mold its essence. Through its transformative power, art illuminates the path towards individual and societal growth. The act of creating art extends far beyond self-expression; it is a profound exploration, unveiling the profound purpose bestowed upon us by the Earth.
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Curatorial Statement
by Ruzy RusikeAs you enter what has been curated as an imagery book of women by women, reminiscent of Toni Morrison's favorite African-American phrase, "Quiet as it's kept," the exhibition serves as a conduit for revelation. The phrase embodies an incarnation that paradoxically exists in both the revealed and the concealed.Art moves around before we can shape it, and the way art shapes us reveals what we should become as individuals and as a society. Our creation of art is not about ourselves alone. It has little to do with expressing our personal desires and everything to do with uncovering the deeper purpose that the Earth has bestowed upon us.As you enter what has been curated as an imagery book of women by women, reminiscent of Toni Morrison's favorite African-American phrase, "Quiet as it's kept," the exhibition serves as a conduit for revelation. The phrase embodies an incarnation that paradoxically exists in both the revealed and the concealed. It encapsulates resilience, pain, and generational trauma, acting as a cover or an alleviation for the traumas experienced by oneself or others in the family. It manifests an intimate expression of violence, both physical and emotional, through the act of resilience. Women are often burdened with the expectation of resilience in order to maintain a semblance of "peace" in various societal, cultural, or subcultural contexts.This exhibition, therefore, stands as a bold proclamation, inviting all that remains "Quiet as it's kept" to be brought into visibility. It beckons a world where an alternative reality emerges, calling upon a form of spectatorship that transcends singular narratives and permeates every facet of existence. The notion of "everywhere" that I allude to here reflects the hidden, the concealed, and the simultaneous revelation. It operates within a specific discourse of secrecy, as the artists portray internalized scenes that have long awaited recognition. The exhibition explores and speaks to the myriad ways in which relationships—between the living and the deceased, between groups within society, and between humans and the supernatural—are structured. Like fertile soil, art serves as a resource to challenge symbolic rituals and express a society's attitudes towards sex and gender relations.By shedding light on what has been kept in the shadows, this exhibition invites us to confront and redefine the narratives that govern our understanding of ourselves and others. It encourages a collective awakening, a transformation fueled by the power of art to reshape our perceptions and reimagine our world. Therefore this exhibition acts as a catalyst for introspection and social change, providing a space for dialogue and reflection. It reminds us that art in its various forms has the potential to be a force for liberation, healing, and empowerment.As visitors engage with the works on display, they are invited to reconsider their own experiences and perceptions. The exhibition serves as a reminder that our stories are intertwined, that our struggles and triumphs are not isolated but shared. It challenges us to confront the silences and secrets that have plagued our society, recognizing that by giving voice to what has been kept hidden, we can begin to heal and create a more inclusive and compassionate world.Therefore "Quiet as it's kept" is not simply an exhibition of art; it is a bridge towards an inclusive and alternate exploration into understanding the human condition. Catapulting us into the unknown forms of expression thus tapping into reality. -
Particpating Artists
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Bulumko Mbete
Alexandra Smit -
Candy Kramer
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Ilana Seati
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Kganya Mogashoa
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Lebohang Motaung
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Olwethu De Vos
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Philiswa Lila
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Phumzile Buthelezi
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Sahlah Davids
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Tamary Kudita
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Tayhe Munsamy
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Zenande Mketeni
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Bulumko Mbete
B. 1995 -
Bulumko MbeteKwa Gomatana, 2023Blanket, acrylic wool and beadsR 17,250.00
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Candy Kramer
B. 1974 -
Candice KramerJozi Walkers, 2023Enamel and rust on steel, on steel30 x 20 cmSold
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Candice KramerThis Way , 2023Oil paint on steel88 x 64 cmR 60,000.00
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Ilana Seati
B. 1949 -
Ilana SeatiUntitled, 2023Mixed media on canvas60 x 80 cmSold
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Kganya Mogashoa
B. 1994 -
Kganya MogashoaMy Spirit is not banned. (Frances Baard), 2023Mixed medium (oil on canvas, acrylic, fabric)142 x 100 cmR 98,000.00
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Kganya MogashoaWe do not want passes ! (Bertha Gxowa), 2023Mixed medium (oil on canvas, acrylic, fabric)142 x 100 cmR 98,000.00
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Lebohang Motaung
B. 1992 -
Lebohang MotaungWeb of hair, 2023Synthetic hair and acrylic paint72 x 74 cmR 9,200.00
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Lebohang MotaungHairoiness, 2023Synthetic hair, beads and acrylic paint on canvas175 x 120 cmR 34,500.00
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Olwethu De Vos
B. 1992 -
Born in South Africa in 1992, Olwethu De Vos is a contemporary multidisciplinary visual artist and curator currently residing and working in Johannesburg. De Vos received her Baccalaureus Technologiae degree from the acclaimed Tshwane University of Technology where she majored in glass blowing, sculpture and figure drawing. Throughout her career, De Vos has been the recipient of the Teresa Lizamore Curatorial Mentorship Programme in 2017 and the Schütz Fine Art Museum Artist in Residence Program in Austria 2023. She also participated in the Thami Mnyele National Fine Arts Award where she was selected as one of the top fifteen finalists. De Vos has had the pleasure of participating in numerous exhibitions such as All Womxn Matter by Julie Miller and Art@Africa in 2020, Stories of our Soil with The Melrose Gallery 2021 and Rebirth with Lizamore & Associates Gallery 2022 . De Vos has also participated in prestigious art fairs internationally and in the county such as the Miami Prizim Art Fair (2021), Turbine Art Fair (2019), Investec Cape Town Art Fair (2021) and FNB Art Joburg (2020) where she had her first virtual solo exhibition. De Vos’s first physical exhibition took place at Mmarthouse Gallery in 2021
Artist Statement
I want to advocate and create a space for healing with my art for this body of work. Myself and the world have been in turmoil for the past 3 to 4 years due to the COVID 19 pandemic, thankfully because of the advancement of technology and medicine we have passed the worst stage of it, we are now able to control and prevent the virus. Albeit there is still an ongoing battle of mental health and well being in a variety of ways including through isolation and loneliness, job loss and financial instability, illness and grief.With this series I have created a body of work using the Lotus Flower as the centre of my concept. My pattern work, textures, colors and shapes will be derived and inspired by this flower which has varies meanings from culture to culture. The Lotus Flower in the Chinese and African culture is the symbol of honesty, goodness beauty and purity. In general, however, the lotus commonly serves as a sacred for purity, rebirth, and strength. Because lotuses rise from the mud without stains, they are often viewed as a symbol of purity. Since they return to the murky water each evening and open their blooms at the break of day, lotus flowers are also symbols of strength, resilience, and rebirth. Still another lotus flower meaning is transcendence: the lotus represents the transcending of man’s spirit over worldly matter since it blooms from the underworld into the light. (Saffron Marigold; 2022)I feel that the symbolism and meaning of this flower portrays the healing I wish to advocate for in my body of work currently. I want to unpack the discourses of mental health and well being post the pandemic, and simultaneously create a space for healing, rebirth, forgiveness, self-love and truth. When people engage with the artworks, I would like for them to find these qualities of the lotus flower within themselves when they are observing my artworks and to be encased with that type of energy. The 3 dimensional depth and layering of the artworks speaks to the intercracy of the human mind, body and soul. -
Olwethu de VosPurple is the colour of tranquility, 2023Ink, pastel, staples, glitter and steel wool on wood167 x 100 x 14 cm
175.5 x 106.5 x 14 cm (framed)R 69,000.00 -
Philiswa Lila
B. 1988 -
Philiswa LilaLila, 2023Beads, woods and string245 x 184 cmR 460,000.00
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Philiswa Lila is a visual artist, curator and scholar fascinated by the socially relevant and timely issues of authorship and agency. She is interested in memory histories and theories of personal identities. Lila works across disciplines like painting, installation, and performance art, and includes the use of mediums such as animal skin (sheep, goat and cow), beading, wood, paper, photography, video and poetry. Through her representation with The Melrose Gallery, Dr. Esther Mahlangu selected Lila as an ‘artist to watch’ for the 2019 SEED auction.Lila has a Masters in Art History from Rhodes University, an Honours in Curatorship from University of Cape Town, a Project Management Certificate from Unisa and a B.Tech in Fine and Applied Arts from Tshwane University of Technology. Lila became the 2018 recipient of the prestigious Absa L’Atelier and Gerald Sekoto Award, which included a residency at the Cite Internationale des Arts in Paris. The artworks produced during this residency were presented in her solo exhibition titled ‘Skin, Bone, Fire: The First Album’ which was first hosted by the Absa Gallery in 2020. The exhibition then toured various museums and other spaces in South Africa in 2021.
Artist Statement
it's an offeringa releaseweight taken offfrom my heartfrom my soula releasethis tooshall be a memoryof a life well livedi will tell time by the starsyou'll be the star that comes with floods.DESCRIPTIONThe artwork is made with beads, wood and string. It is a sculptural piece that can be hanged against or away from the wall using eye hooks on the wooden rod. The artwork is fragile. It should be handled with care, not folded tightly, pulled, tangled or dropped -
Phumzile Buthelezi
B.1976 -
Phumzile ButheleziKnotted sculptures, 2023Fabric, plastic strings, metal grid, wire and beads180 x 80 x 50 cmR 115,000.00
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Phumzile ButheleziUnited we stand, 2023Mixed media on canvas250 x 210 cmR 120,000.00
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Sahlah Davids
B. 1998 -
Sahlah DavidsEmbraced , 2022Mixed media assemblage65 x 60 x 15 cm€ 1,955.00
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Sahlah DavidsEmbellish, 2022Mixed media assemblage58 x 54 x 25 cm€ 1,955.00
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Tamary Kudita
B. 1994 -
Tamary KuditaLiberty 1980, 2022Digital Print of Fine Art Tecco Paper118 x 126 cmSold
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Tamary Kudita is a multi-award winning fine art photographer, scholar and visual artist, exploring themes of cultural duality, African identity, trans generational memory, interwoven histories all in an effort to shed light on the nuances of totalizing colonial narratives. She graduated from Michaelis School of Fine Art at the University of Cape Town, in 2017 with a Bachelor of Fine Arts. Subsequently, she established herself in fine art photography thus beginning her artistic career.Awards and accolades received include The Sony World Photography Awards Open Photographer of The Year (2021), Sony World Photography Awards Creative Category winner (2021), SeeMe, Art Takes 2021 Runner Up Prize, (2021) The Voices of African Women Journal Most Inspiring Art Piece Award (2020), Shortlisted for The International Contemporary African Photography Prize, (2021). Her investigation looking at the legacy of colonialism on the family structure, has resulted in exhibitions delving into the history of the Multi layered African identity. The artist’s work is part of The Betsy Gallery’s art collection in Miami. Previous solo exhibitions have taken place at the Women Photographers International Archive at The Betsy Gallery, Miami, Florida (2021), Birds of a Paradise at The Betsy, Miami, Florida (2022) and PH Centre Gallery in Cape town, South Africa (2018).Group shows include: IPE 163, The Royal Photographic Society, Bristol, UK, (2022) Sony World Photography Awards, Willy- Brandt- Haus, Berlin, Germany, (2022) Ma-dzimbabwe, Akka Project, Dubai Art Expo, Dubai, (2022) Shifting Narratives, The Melrose Gallery, South Africa, (2022) Reframing History, Photo Vogue Festival, Milan, Italy, (2021) Art Takes 2021, Ki Smith Gallery, New York, USA, (2021) Rembrandt 250, The National Gallery of Zimbabwe, (2019). The artist has been featured on various international media outlets and publications such as BBC News, CNN International, Forbes, Vogue Italia, National Public Radio (USA), The Independent UK, Huffington Post, ART AFRICA, Photo District News Magazine, The Royal Photographic Society Journal, TSA Contemporary Art Magazine, Daily News Zimbabwe and The British Journal of Photography. Her work can also be found in the permanent collection of The Fitchburg Art Museum’s photography collection which will be staging a major exhibition of 21st century African Photographers in the fall of 2023, in Massachusetts. Tamary is currently the 2023 J.M.D Manyika Fellow at Harvard University’s Hutchins Centre for African and African American Research.
Artist Statement
My work attempts to convey a truthful narrative and demonstrate how I engage with issues of invisibility, re-contextualization, appropriation and subversion to preconceived ideas of black personhood. I look at how our unchosen histories have shaped our contemporary state. Furthermore, my work speaks directly to the common reality amongst people of colour of an ‘obscured history’ which often negates our individual stories. Thus, making a commentary on history and its selective unfolding. Through portraiture, I merge my contemporary aesthetic with a historical aesthetic as a way of showing how the old informs the new.Stemming from my ancestral mixed race lineage, my images take on superimposed characters. I intentionally use African elements that have been super imposed filtering through a western medium. This layered symbolism illustrates an affiliation with a multifaceted identity. Both innate and superimposed variations of my work are capable of division into those which are more and those which are less obvious to the human eye. My work carries layers of signification and meaning, illuminating once invisible bodies by making them hyper visible while undermining the authority of simplistic readings of the black body.Furthermore, I explore the place of African fabric in the refashioning of cultural, racial and gendered identities as well it’s use as a vehicle with which to challenge structures of power that render certain people’s histories and cultural expressions invisible. My subjects wear African dresses that have been partially transformed into Victorian regal attire. By reconfiguring the ‘African dresses as Victorian gowns’, I invert the social power indexed by Victorian dress and use clothing in ways that unpick inherited binaries haunting understandings of difference in Post-Colonial Africa. My work gestures towards ways in which I embark on a cultural remaking of the self and other, contributing to new imaginings of African identities. The (dis)-connections between personal history and received social history are an ongoing interest.
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Tamary KuditaLotus, 2022Digital Print of Fine Art Tecco Paper123 x 82 cmEdition of 2$ 5,250.00
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Tayhe Munsamy
B. 1997 -
Tayhe MunsamyFor Those Born of The Blood, This History is Held for You, 2023Acrylic on canvas155 x 300 x 10 cmSold
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Tayhe Munsamy was born and raised in Johannesburg, South Africa. She attended Goldsmiths University of London where she studied Fine Art and History of Art. During her time in London her practice evolved to showcase works within the realms of speculative thinking, fiction, mythology and folklore. Her practice weaves together her identity as a mixed-race woman and explores elements from the Coloured and Indian communities in South Africa. Storytelling that combines cultural specificity and historical archives with fictional features are evident in her work in written and visual forms – paintings, video, performance, and digital media – to unveil themes of construction, displacement, transformation, and fantasy in relation to notions of the self. Tayhe obtained her BA in Fine Art and History of Art from Goldsmiths University of London in 2020. She graduated with a First-Class Honours. In 2021, Tayhe was selected for the RMB Talent Unlocked mentoring program and group show at Everard Read CIRCA Gallery in Johannesburg in association with Strauss & Co South Africa. She continues to showcase her artworks in group shows around South Africa and internationally. Tayhe is currently based in Johannesburg, South Africa
Artist Statement
This artwork is born out of a fictional tale that blends reality with the speculative. It explores a South Africa with an alternative history - one of Pirates, Cowboys and lost treasure. Storytelling is the foundation of the painting.It speaks to the unseen and the unknown by exploring an ancestral folklore that carries power. The artwork unravels themes of generational connection, ownership, and belonging, and explores how the foundation of mythology and folklore creates stories that bind us together in a world that has broken our ancestry part. -
Zenande Mketeni
B. 1995 -
Zenande MketeniNdiyanyanga Apha Ekhaya (I'm healing at home), 2023Mixed media100 cm in diameterR 39,500.00
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In my work I explore the discourse around black women in postcolonial South Africa in relation to Xhosa culture. There isa need to reimagine the representation of what A black Xhosa woman is, re-invasion the spaces she resides and in which she exists within her culture. I believe that black women contribute to the importance of cultural theologies. They bring their gender not as fragile but as a strong culture and their socio-economic conditions wanting these theologies to address their whole beings which are complex and have duality. Due to patriarchy women get little to no recognition of their significance within their cultures and community. So, Ihave fashioned a world where there is potential for a realm of pure possibility, where the human and non-human, ghosts and cultural beings occur in a matriarchal world, one where women reign supreme.
Artist Statement
In this work I explore the portal to an imagined feminist future. Where the women of the land have evolved into masked humanoids. Taking on more animalistic characteristics they treat the line of what -
Peformance Programe
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3 August 2023
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For more infomationPlease contact tyron@themelorsegallery.com
