Corner of Church and Loop Streets
Monday – Friday
09:00 – 17:00
10:00 – 14:00 Visit Website
99 Loop shines a spotlight on a wide range of top emerging and established artistic talent from South Africa. On the corner of Loop and Church Streets, 99 Loop joins a number of other established and brand-new galleries on the same stretch, offering visitors a reason to linger and explore.
The classic 1800s façade conceals a warm, modern interior housing a revolving series of solo and group exhibitions of African art: paintings, sculpture & photography. 99 Loop’s sunlit ground floor is a space for more playful installation work. A new wing, designed by the team from Rennie Scurr Adendorff (who refurbished the Fugard Theatre in District Six), adds to the Gallery’s contemporary appeal, with over 100m2 of exhibition space, as well as a reading area and treed courtyard.
Fatima's work can be described as a generative process that explores her understanding of life, related to spiritual, religious and cultural beliefs. Through the continuous process of painting and mark making, in the form of a pendulum, she is communicating and investigating her belief that all matter and energy is connected through the circular spiral form which is made up of micros and macros that form a whole. She sees the pendulum as a natural scientific system that reflects a global construct of everything that is, seen in the movement and make-up of the universe as well as anatomical and molecular structures that occur in nature. This movement is also an encapsulation of a state of being which occurs on a physical, mental and spiritual dimension.
She is exploring how this motion can be translated into the concept of evolution and metamorphosis, by continuously re-generating the marks and nuances created by the pendulum through the use of positive and negative space.
Her experience with the pendulum thus far, is that it always follows a path, once released into motion, whether symmetrical, asymmetrical, balanced or imbalanced, it always follows a predetermined course of motion.
"I am interested in this dichotomy between the pre-determined path of the pendulum and its many “spontaneous” outcomes, which can be seen as somewhat ironic, but also reflects the synergy between the idea of fate and free-will. This process allows me to introspect on what faith means to me, which is a deep connection with a higher universal energy seen in a symbiosis between my individual expression and the system generated by the pendulum."
Seemingly calling of a staged chaos, fragments detonate outward from its centre, until reaching a point of suspension at the apex where they hover.
Revealing a fascination with comic-books and the anti-hero, Chris Denovan’s sixth solo show, self-reflexively titled, Big Weirdo, exhibits a space in which the excessive and the impossible are held together through montage and paint. Iterating processes of transfiguration and translation, Denovan’s subjects become a persona, each performing within a larger, non-prescriptive narrative. Violent gestures shift to the carnivalesque and comic.
Oscillating between themes of sexuality, identity and belonging, Denovan employs colour and gesture to subliminally subvert recognisable symbols of heteronormative masculinity and authority. Possibly these mercurial, shape-shifting characters are extensions of the artist himself; portraits like mirrors held back to the one who looks out.
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