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TITLE OF EXHIBITION

A Land I Name Yesterday

ARTISTS

Jenna Burchell
Jaco van Schalkwyk
Wayne Matthews

GALLERY

Barnard Gallery



Listen to the Audio Walkabout – Jenna Burchell


Listen to the Audio Walkabout – Wayne Matthews


Listen to the Audio Walkabout – Jaco van Schalkwyk

Exhibition statement

Known for his expansive and highly accomplished oil paintings of amongst other things forest interiors and jungle thickets, Van Schalkwyk’s immersive canvases are simultaneously sublime and unsettling. Rendered in a predominantly monochrome palette, these psychologically charged spaces serve, on this occasion, as both the armature for and backdrop to Burchell’s ingenious soundscape interventions.

Burchell is recognised for her masterful merging of mediums and sensorial interpositions. For this collaborative project, Burchell extends her repertoire to engage the mindscapes of Van Schalkwyk and Matthews. Having documented their brainwaves using an EEG device, the artist created soundscapes of their experiences which now feed through the exhibition space in a ghostly manner. In addition to the soundscapes, Burchell works with compressed carbon, also a product of trees, setting up a haunting installation of three-dimensional black trees.

Matthews’ carefully sutured collages – reconstructions of 19th Century German woodcuts of trees and woodland landscapes – set up a compelling dialogue with Van Schalkwyk’s contemporary vistas. Together they explore a similar language albeit through contrasting vernacular. Matthew’s works have a historical accent that visually evoke the characteristics and qualities of classical maps. Invested in shifting images the artist literally cuts them up and remakes them thereby imbuing the reconstructed images with a fragile beauty.

A Land I Name Yesterday explores liminal spaces, mutating landscapes, notions of conservation and what may be considered a Contemporary Romanticism. Van Schalkwyk, who initiated this collaborative project, summarises their collective objectives: “We’re creating a new land, a new world.”

Catalogue
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Collaboration- Jenna Burchell and Jaco van Schalkwyk
On This Eve the Souls Will Dream
2019
Interactive sound painting
185 x 255 x 10 cm
SOLD

While Jaco van Schalkwyk was painting this work, Jenna Burchell recorded his brainwaves with an EEG device. The resulting composition is woven into the canvas as a proximity responsive soundscape of the painter’s mind and memory.

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Jaco van Schalkwyk
Therapy for Narcissus
2019
Oil on Belgian linen
185 x 150 cm
SOLD

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Jaco van Schalkwyk
Out of place
2019
Oil on Belgian linen
135 x 180 cm
SOLD

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Jaco van Schalkwyk
End of the World
2019
Oil on Belgian linen
135 x 180 cm
SOLD

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Jaco van Schalkwyk
A Little Chaos
2019
Oil on canvas
210 x 100 cm
SOLD

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Jaco van Schalkwyk
Nemora I – IX
Oil on Belgian linen
160 x 120 x 7,5 cm (x 9)
R 855 000

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Jenna Burchell
Sound portrait – Jaco van Schalkwyk in D Major
2019
Vinyl record, archival paper
Duration 22 minutes x 32 x 32 cm
Edition of 5 plus 2 AP
R 14 000

Sound Portrait Library records and collects portraits of people in the form of sound. It is an exploration into preserving a person’s quintessence. These delicate yet complex compositions are created with electroencephalography (EEG), a monitoring method that records the electrical signals within the brain.

The electroencephalograms are translated into song, creating a symphony of higher and lower frequencies that link and cohere with each other through harmonics.

The sound portraits allow us to experience the sitter’s mind for 22 minutes as it dances consciously and subconsciously through thoughts, memories, and emotions.

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Jenna Burchell
Sound portrait – Jenna Burchell in B Minor
2019
Vinyl record, archival paper
Duration 22 minutes x 32 x 32 cm
Edition of 5 plus 2 AP
R 14 000

Sound Portrait Library records and collects portraits of people in the form of sound. It is an exploration into preserving a person’s quintessence. These delicate yet complex compositions are created with electroencephalography (EEG), a monitoring method that records the electrical signals within the brain.

The electroencephalograms are translated into song, creating a symphony of higher and lower frequencies that link and cohere with each other through harmonics.

The sound portraits allow us to experience the sitter’s mind for 22 minutes as it dances consciously and subconsciously through thoughts, memories, and emotions.

Enquire

Jenna Burchell
Sound portrait – Wayne Matthews in F Minor
2019
Vinyl record, archival paper
Duration 22 minutes x 32 x 32 cm
Edition of 5 plus 2 AP
R 14 000

Sound Portrait Library records and collects portraits of people in the form of sound. It is an exploration into preserving a person’s quintessence. These delicate yet complex compositions are created with electroencephalography (EEG), a monitoring method that records the electrical signals within the brain.

The electroencephalograms are translated into song, creating a symphony of higher and lower frequencies that link and cohere with each other through harmonics.

The sound portraits allow us to experience the sitter’s mind for 22 minutes as it dances consciously and subconsciously through thoughts, memories, and emotions.

Enquire

Wayne Matthews
A scattering of limbs
Collage on linen, on prepared board 22,5 x 44,6 cm
R 17 000
Thin profile black wooden frame

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Wayne Matthews
Backwards River
Collage on linen, on prepared board 22,5 x 44,6 cm
R 13 500
Thin profile black wooden frame

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Wayne Matthews
Gilded Hours
Collage
51 x 44,5 cm
R 22 500
Thin profile black wooden frame

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Wayne Matthews
In the shimmer we are cast from the spell
Collage
75 x 72 cm
R 33 000
Thin profile black wooden frame

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Wayne Matthews
Scattered light: The end is complete disambiguation
Collage on linen, on prepared board
41 x 46 cm
R 17 000
Thin profile black wooden frame

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Wayne Matthews
Simon, Sisyphus and the Sin of Simony
Collage
45 x 41,5 cm
R 22 500
Thin profile black wooden frame

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Wayne Matthews
The Night of Pan
Collage
81 x 44,5 cm
R 29 000
Thin profile black wooden frame

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Wayne Matthews
The piper pulled down the sky
2019
Collage diptych
Left: 32 x 26.5 cm. Right: 29 x 26 cm
R 16 000
Thin profile black wooden frame

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Wayne Matthews
Murmuration: Djed 
2019
Collage triptych
Collage
45 x 63 cm
R 25 000
Thin profile black wooden frame

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Wayne Matthews
The Petrified Beam
2019
Collage triptych
30 x 120 cm
R 18 500
Thin profile black wooden frame

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The Sound in Our Heads: Jaco van Schalkwyk, Jenna Burchell, and Wayne Matthews’s ‘A Land I Name Yesterday’ – A review by Ashraf Jamal, ARTTROB, November 12, 2019

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A Land I Name Yesterday – by Robyn Sassen, ART AFRICA MAGAZINE, SEPTEMBER 12, 2019

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Artist’s profile

Jaco van Schalkwyk was born in 1981 in Benoni, South Africa, where he grew up in the headquarters of the Latter Rain Mission International. 

He was educated at Brandwag High School and holds a BA degree in Historical Studies at UNISA. The artist currently resides in Randburg.

Since the conception of his 2015 solo exhibition Eden at the Barnard Gallery in Cape Town, Van Schalkwyk has been concerned with the idea of the exotic and the symbolism of forests and islands. Exploring beyond the surface of these places, the artist challenges our idea of utopia or paradise and questions the western notion that paradise is found in the beauty of exotic landscapes and / or the other. 

Reminiscent of Romantic landscape painting, Van Schalkwyk’s works use metaphor and symbolism to ascribe moral significance to the growth and decomposition of natural objects. His contemporary vistas speak of man’s abuse of the natural world and the threat of climate change. Where romanticism celebrated the idea of nature as both refuge and dream, Van Schalkwyk reveals that this very nature is being neglected and abused.

Van Schalkwyk has participated in numerous exhibitions in South Africa and abroad and is represented in several collections: The Reserve Bank of South Africa, Barclays bank, RMB, the University of Pretoria, the University of Johannesburg, the Pretoria Art Museum and the Ellerman Collection.

Jaco van Schalkwyk


Artist’s profile

Jenna Burchell is an award winning South African artist. In her practice, Burchell is driven to find ways to preserve the fragile and ephemeral nature of memory and experience. Often this involves fusing the digital with the natural world to create vessels, archives, and libraries, wherein the historical is subverted with narratives from the periphery. Burchell’s process allows function and relational aesthetics to direct the physical formation of her work. This often results in sculptural sound objects and large-scale interactive environments in which the audience must be present. People, communities, and places are rooted in the essence of her practice.

Burchell (born 1985) has exhibited at various national and international galleries, museums, and institutions. Her works have been featured as special projects at select art fairs including: The Art15, London and the FNB Joburg Art Fair, South Africa. She was the recipient of the Thami Mnyele Fine Arts Award (2011) and has been a resident artist at sculpture parks such as the YSP and Nirox. Her traveling solo project titled Homing was featured on the main programme at the National Arts Festival, Makhanda (2014). Burchell has recently completed a series of permanent outdoor sound installations that form part of her international project titled Songsmith, resident at the Spier Wine Estate in Stellenbosch, South Africa (2018).

Jenna Burchell


Artist’s profile

Born in 1982, Wayne Matthews currently lives and works in Johannesburg.

He completed his studies at the Nelson Mandela University in 2006. Despite majoring in Painting, he produced mainly sculptural work that falls within the assemblage and installation idioms.

Matthews exhibits as a multidisciplinary artist currently working in collage, drawing and assemblage. His recent works attempt to image the half-formed, partial and fragmentary nature of a life in the flicker, of life amidst the floating signifier; here nothing clearly follows on from anything else and the previous page is never erased by the next.

The works of the past three years have featured sedimentary deposits of graphite, dust, foodstuffs, torn and pitted paper, palindromes and phonemes, fragments of word, object, and image. They freely incorporate abstract, semi-figurative and figurative registers, metaphoric and symbolic language. His work draws as readily from contemporary visual culture as it does from classic literature and cosmogonic myth. Opting to insinuate meaning and implicate content, which is often found, often unintended, but accepted as part of the work none the less. Behind the divergences of style, register and technical approach, however, there is an emergent iconography, one that implicitly involves these shifting approaches and materials as constituents of the subject matter itself. They speak of the intimate and generative interplay of significance in a context devoid of fixity.

In 2019 Matthews was awarded a fellowship from the Ampersand Foundation (New York) and was an ABSA L’Atelier Merit Award Winner in 2007. He has lectured in Drawing, Art Theory, and Painting and has worked as a curator and gallery director. More recently, as one of four founding members, he launched the Labyrinth Project, exploring alternatives to curatorial praxis through interdisciplinary collaboration and experimentation. He has participated in numerous group exhibitions both locally and internationally and his work is featured in both private and public collections.

Wayne Matthews


Gallery’s profile


Barnard Gallery was founded in 2010 by owner and director Christiaan Barnard and represents emerging and mid-career contemporary artists from South Africa, Zimbabwe, and Europe.

The gallery has presented a number of significant solo exhibitions by its represented artists whose works have also been included in group shows at significant museums and institutions including, amongst others IZIKO South African National Gallery, Cape Town; Zeitz MOCAA, Cape Town; Calouste Gulbenkian Museum, Lisbon; Pratt Institute, New York; Foto Museum, Antwerp; BOZAR, Brussels; Museo Carlo Bilotti, Rome; Fondazione Giorgio Cini, Venice and The Center for Book Arts, New York.

The gallery regularly participates in local and international art fairs. To date these have included: Cape Town Art Fair (2013-2020); 1-54: Contemporary African Art Fair, New York (2019); AKAA: Also Known as Africa, Paris (2017-2018); START, London (2018); VOLTA, Basel (2018); FNB Joburg Art Fair (2012-2018); VOLTA, New York (2017) and 1-54: Contemporary African Art Fair, London (2016-2017).

Barnard has an active publishing programme – an initiative aiming to further explore and support the work and careers of the gallery’s stable of artists through the medium of the book. To date these limited-edition publications have been added to the library collections of the University of Cape Town (UCT); Wits Art Museum (WAM), Johannesburg; Jack Ginsberg Collection / Ampersand Foundation, Johannesburg; Pratt Institute, New York; Metropolitan Museum of Art, New York and the Museum of Modern Art (MOMA), New York.

Sign the exhibition’s visitors book and let the artist know you were here!


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