Introducing THAT ART FAIR’s pop-up exhibition space, THAT_Art Space, located in The Palms Woodstock!
The inaugural event features exhibitions by Boeta Phyf and Neill Wright. Each artist presents their playful interpretations of more serious societal issues, dealing alternatively with tragedy and comedy, replicating recognisable quotidian elements in an attempt to question the viewers’ perceptions of their environment.
Wright presents large-scale twin wooden sculptures as well as a work on paper and a series of acrylic screen prints, while Phyf showcases his distinctively vibrant ‘3D graffiti’ work.
WHEN: Saturday 20 June 2015 11:00 – 17:00 | closes 11 July 2015
WHERE: Unit A037 (next door to SMAC Gallery), The Palms , 145 Sir Lowry Road, Woodstock, Cape Town
HOURS: Monday – Friday 09:00 – 17:00; Saturdays 09:00 – 13:30
INFO: Visit event on Facebook.
About Neill Wright:
In 2007, Neill Wright completed a Bachelor of Arts in Fine Art (Honours), graduating with distinction from the Michaelis School of Fine Art (UCT). Working in a number of different mediums, including drawing, printmaking, painting and sculpture, Wright draws inspiration from the media, society and politics, attempting to create a panoramic view of the issues, difficulties and paradoxes that are embedded in global and, more specifically, South African society. His interpretations are often paradoxically comic and tragic, creating an uncomfortable space in which the viewer is caught between amusement and dispair.
His works are housed in private collections in Europe, the United States, Australia and South Africa.
About Boeta Phyf:
Boeta Phyf is a Cape Town-based artist who works mainly with wooden sculpture in the form of ‘3D graffiti.’ Phyf’s work interrogates the notion of ‘public space’ and often references pop and mass culture. Using written and drawn symbols, he creates a world where light-heartedness rules and where rules are undermined. In a search for new methods to ‘read’ the city, he replicates quotidian, recognisable elements, presenting the viewer with an unprecedented situation in which they are confronted with the conditioning of their own perceptions, forced to reconsider their biased position.
Sometimes idiosyncratic and quirky, at other times representing typical by-products of South African culture and media ‘brainwashing,’ Phyf’s work urges us to renegotiate sculpture as being part of a reactive or – at times – autistic medium, commenting on oppressive themes in contemporary society.
