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Ongoing projects

 

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sirenThe Siren 2009

siren Mphumalanga riverbed

Mpumalanga Siren on riverbed rock

The proposed installation is a meander – a footpath forming the outline of a snake woman - an ancient and almost universal symbol for the earth goddess. The figure is to be placed on both sides of a long straight road, symbolising the earth and our own sense of belonging that has been ravaged by our fast moving modern culture. The creation of the siren represents our hope that it will be possible to restore and pay homage to an abundant earth. The meander invites participants to walk the path of the siren – putting her (and themselves) together again by completing the trail.

Read more...

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City Poems

2009

Towards the end of 2008 Kai Lossgott invited me to take part in the City Breath project. Since I know nothing about video, I was really relieved when Erica Lüttich agreed to collaborate with me. (‘Collaborate’ is a very generous term for my level of participation – she really created the entire video, while I made tea at the editing suite Linda de Jager (kindly provided at rates artists can afford). Still, I am quite pleased with ‘our’ video poem. We are both keen photographers, and have been documenting our daily journeys around the city for several years. The process of expressing our experience of Johannesburg through the filter of windscreen, traffic and weather interspersed with the flow of conversation was great fun. We hope to extend this into a series that will include other city encounters such as London and Berlin.

Burn (I lost a poem)  VideoPoem

Angel, burn still

An exploration of memory and motion. Both spatial orientation and the state of the body at the time of an experience influence focus, level of consciousness and recall. This video poem laments the loss of slow significant contact that a vehicle bound city inhabitant experiences, but also exalts in the infinitely interesting stream of image, noise and thought that flows by. In the timeframe of the motorcar, images, moments and themes repeat continually. This transforms the city into an experience of motion and rhythm, rather than locality.

uJuly 7, 2009

 

trans_end

2007

trans_end is an attempt at creating a constellation of viewpoints looking towards a future through and beyond the imagined and awaited apocalypse of consensual thought.

If a dream is seen as a manifestation of an individual’s psychological projectory, and often interpreted as a warning regarding the direction things are heading in, religious* myth can be seen as a collective psychological projectory. The warning inherent in the collective dreams of the apocalypse in more than one major religion of our time doesn’t need an army of psychologists to interpret it.

For an individual to have any hope of changing the patterns he is captive to re-enact, it is firstly necessary to recognise such patterns. For huge collectives like those caught in various religions at this stage, it might be impossible to see the writing on their own walls. Even an attempt at psycho-analysing religious mythology itself will seem blasphemous to many, and could incur the wrath of fundamentalists, so it is only with courage and conviction of a different kind that one can attempt to lift the veil of faith to peer beyond.

• 'Religion' is used in its widest possible sense - all dominant belief systems that contribute to the imagined apocalypse – everything from science to the conspiracy theories - are up for investigation.

 

First thoughts:

There are many instances where the world as she used to be has already been destroyed for individuals and groups. Thus they are already beyond the end, and are finding ways to exist, and sometimes transcend it. In my work I intend to explore three such situations to gain a better understanding:

The first looks at the world of someone (my father) that is suffering from Alzheimers. In many ways the world as he knew it does not exist anymore, because he can recognise less and less of it.

The second looks at a zoo as a post-apocalyptic environment. For most of the creatures inside its walls, their habitat has been destroyed and they have been taken from it. Some of them count amongst the last surviving members of their entire species.

The third line of investigation will look at the experience of child refugees in South Africa. There are hundreds of these children that have travelled immense distances without parents, sometimes even without being able to understand the local languages. Surviving without everything that most of us take for granted.

www.trans-end.org.za

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Pandora’s book of Playgiarism
2003

view by invitation only

Handbound book with giglé prints on Fabriano Rosa Pina 250gsm Each page: 30x24cm. Artists’ copy includes three dimensional elements and hand drawn elaborations. Unfinished. This book continues as I find new inspirational images and words.

It is with great admiration and respect that I explore the thoughts contained in other people’s work. I dream to meet these amazing people that could create things so beautiful and powerful, to ask them how they arrived at those images and to pay my respects.

My interest in their process is twofold – one, to enrich my own process and to gather the full meaning of their work, and the other to gain understanding of the creative process as it unfolds in other artists.

Pandora’s book of Playgiarism can be seen as an attempt to fulfil a wish to meet some of the artists I admire. Some of them lived in other times, so it is only possible to meet them in that imaginary world. Although many of them are still alive, I’m not sure whether the personality would live up to the art! And obviously I have no idea whether they would be the least bit interested to meet me. So whilst there are some serious issues and wishes contained in these pages, it remains a very playful imaginary visitation.

I imagined that I would spend a day or two in studio with one or more of these artists and poets. We would play together and discuss things the way artists sometimes do, and create a page as a memory of the encounter.

Mostly I felt somehow closer to an understanding of their way of seeing through this exploration, but sometimes the power of their work would intimidate me completely for hours before I could find an entry point.

I like to think of the work as using copied images the way we use words coined by other people. Art often expresses those things that words fail to capture. Thus each copied artwork is seen as a word in a ‘new’ sentence that conveys meaning whilst acknowledging its previous context and its maker.

With respect
Anni s.

Posted 10 December 2005, www.annisnyman.co.za, author: Anni Snyman

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Life imitates art
2005/2012

Every now and then an image pops into my camera's viewfinder that seems to relate to an artwork that I have seen before. I don't consciously try to create these images, they just seem to arrive, and the moment of recognition is always amazing. I don't manipulate the images digitally at all, so that anyone that views them can hopefully experience the same surprising discovery.

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Online

Anima/us
2005

These Images were projected as part of a performance in a series of animations that katty vandenberghe created. This became an online performance visible at www.janinelewis.com. Click image to view the artwork.

These three images were created for a performance directed by Janine Lewis. There are three characters in Janine’s story, but they are really all aspects of one woman as she develops and discovers her power within an abusive relationship. As I watched the performers rehearse, I realised that the wedding dress (as it is worn by all three in the progression of the show) becomes a character on its own:

  • The Bride (Kerri Allen) inhabits the fantasy with joy and expectation as well as apprehension.
  • The Wife (Janine Lewis) is locked in combat with the institution that defines her, and she vacillates between trying to embody the ideal, and finding her own feet again.
  • The Person (Diek Grobler) is shedding the veil and its accompanying illusions.

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Updated August, 2009 at www.annisnyman.co.za, author: Anni Snyman

All work is under a Creative Commons Copyright Licence.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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