News

Generative Markings PlanetPaul in apogee

Tue, 7 Oct 2008 09:11:58 +0200

PRESS RELEASE

Kyle Kauffman Gallery
355 West 39th Street
October 16 - November 29, 2008
Opening Reception: Thursday, October 16, 6 - 8 pm

Generative Markings : PlanetPaul in Apogee
by Koan Jeff Baysa

At their core, the works of Paul du Toit are primal markings generated largely from two main sources: the preverbal and the prehistoric, as he often references both children’s and cave drawings. This affable South African artist from Hout Bay has assembled a personalized visual lexicon, a cache of glyphs from which he draws for his artistic practice. He has repeatedly refined and redefined these symbols with a wealth of life experiences, reaching back to his childhood affliction and disability with symptoms of rheumatoid arthritis and reaching forward to his recent casting of Nelson Mandela’s right “boxing hand” for a sculpture to commemorate the former South African president’s 90th birthday.

His iconoclastic studio practice strategies include breaking his own self-imposed rules, embracing that which he previously rejected, using his non-dominant hand in creating pieces, and working in the horizontal plane or directly on the floor. His drawings and sculptures inform paintings that in turn generate their own inspirations for other two- and three-dimensional works. This current series of paintings constitutes the third successful touchdown of PlanetPaul’s orbit around New York City, at once a measure and a culmination. These newest works invoke the dynamism, spontaneity and surprise of automatic drawings and improvisational jazz. By surrendering to accident and serendipity in markmaking, automatic drawing purportedly reflects the subconscious and reveals the artist’s psyche. Improvisational jazz involves acting and reacting, and creating in the moment. It promotes individuality while maintaining respect for concurrent melodics yet remaining harmonious or purposefully discordant. This can only be possible and evident when the practitioner has the skill, humility, intuition and thorough understanding of the whole. These twin elements are at the core of Du Toit’s oeuvre.
The artist’s recent visit to Beijing, China, revealed that the evolution of his own visual indices have very basic commonalities with pictograms and the development of calligraphy. Near the Temple of Heaven, he was inspired by the evanescent works of calligraphers using wet sponges attached to long sticks to write with water on large flatstones warmed in the sunshine. Four percent of all Chinese characters are derived directly from individual pictograms. Most remaining characters are picto-phonetic in origin with individual components denoting meaning and sound. Because the signifying practice of an image as a sign is generated in the imagemaker’s mind and body, the Chinese perceive both calligraphy and painting as having simultaneous representational and presentational values.

Herein lies the context within which this artist’s guileless and accessible works can best be appreciated: in the frieze-like High Street Series #13, the artist has painted four protocharacters at play, with their large heads and facial features atop simplified bodies and limbs. Within this matrix of universal visual cues, the artist revels in the sequence and shift of colored fields, pleasing concentricities of pigments, and layered lines. Energetic trajectories direct the eye from character to character, to their movements and expressions, ricocheting within the pictorial planes and the confines of the canvas. The surface is textured, linking the polychrome areas, and between the first two figures is simply inscribed ‘PAUL’ (with the signature backwards L), iconoclast and mark-maker.

Koan Jeff Baysa

Some strange alphabet - 4 September 2008

Thu, 28 Aug 2008 15:47:53 +0200

AN INTERVIEW WITH PAUL DU TOIT
Paul comments that a vague concept for Some strange alphabet had been fomenting in his mind for a long time when the illuminating moment he had been hoping for happened unexpectedly during his first visit to China. Observing effective communication between people from different cultures lacking a common spoken language by finger gestures and scrawls in sand or in hand palms, he was struck by the ease with which a simplified pictorial shorthand could take over when words failed. A primal connection between language, essentially linear and time-bound, and an underlying, more elemental ability, essentially symbolic and instantaneous, became clear. A strangely inviting new light was cast on his own artistic idiom.

He found literature on the historical development of Chinese script, which intensified his interest. He became more and more convinced of a primal human understanding with no spatial or chronological limitations underpinning the symbols and signs with which we communicate. Paul showed his work to curators and to other artists in China, who confirmed this by spontaneously pointing out elements which reminded them of symbols used in their languages, some in current use, some ancient and obsolete.

Paul habitually mentions ‘my alphabet, my awkward scrawls, my own graffiti’, when he speaks about the enduring substratum of visual metaphors which have sustained his years of visual research and experimentation. Those remain the core of his work, but shifts in colour, line variation, textural nuance, rhythms of density and sparseness are appearing as he proceeds. He acknowledges these as ongoing evidence of a deepening awareness of the universal poetry of harmony in language into which he taps for his inspiration.

He welcomes the changes, regarding them as the outcome of constant interaction between cognitive consideration and physical experience. ‘I analyze my work constantly’ he says, ‘I experiment constantly. Lines and pictograms I like, I use again and again. Ones I don’t like, I also use again. I work with them ceaselessly to fathom what it is that draws me to some symbols and not to others. I repeat them, I change them, I play with them. By staying with them, figures that initially appear unappealing sometimes become the most delicate, the most meaningful to me. Perhaps because they challenge me, they engage with me as I do with them’.

Of particular interest is Paul’s expanding understanding of black as much more than line and symbolic confinement, visual direction and silent explanation. It makes new appearances as the colour of night, of nothing, of shadow and beautiful obscurity. Variations in blackness add strange new contrasts to Paul’s work. He uses it in new combinations, some strong and unequivocal, others nebulous, even tentative. Another transparently oriental influence, an internalisation of Eastern thinking, where colour, in particular light and dark, encapsulates the inexplicable contradictory nature of human understanding. Paul explains: ‘As line gets busier, colour has to change. I have partially let go of primary colours, which were uplifting and unifying to me when my line was less complex. Now I use colour in subtle layers, superimpositions, textures. Unintentionally, space creeps in, and I allow it. Oil stick and crayon add complexity and ambiguity. New ways to create marks suggest themselves everywhere, even stains left on rags after cleaning brushes. Flatness, once so crucial to my work, has been linked to depth, its twin. The result is a quivering, shimmering additional difficulty which pleases me strangely.’   Despite the obvious fact that Paul’s work deals with the human form virtually exclusively, one might even say obsessively, he has long left behind any notion of verisimilitude. He sees no contradiction in this. ‘Rather than depiction of a single subject, I use my forest of symbols. My collection of awkward scrawls seems to me humanoid, composite, more true than outward appearance’. Perhaps this non-representational truth comes about because the limitations of time are circumvented. When time disappears, there is no stasis; no fixed points, nothing but pure form; a metaphor for the constant flux of human existence.   Paul finds the art of children, another area of research which continues to interest him, analogous to his own: ‘Looking at the work of four-year olds enchants me most. They draw what they think, not what they see, which is exactly what I do. I store images and fractions of images away in my memory to be used as starting points for painting and sculpture. I often think about drawing a line for the first time and I force myself to be clear-headed when I start a new work. I use my weak hand at times or grasp the tool, paint brush or drawing instrument in awkward ways. This leads to unexpected new discoveries’. Paul’s old tradition of working on canvas placed on easels has been replaced. He now works on horizontal planes, tables or the floor, discarding the idea of direction by moving around the format. This is also something children do before they acquire language, before thinking acquires the linearity of speech.
 ‘I also look at and study graffiti when traveling. Street art is currently undergoing unprecedented development. It makes every city new, especially the old ones. Simple line graffiti done with markers I relate to most, because line is central to my work and my spontaneous instant drawings. I know many people hate graffiti, but I love it. I have a different take on it. When people used to live in caves, they drew on the walls of their caves; for me drawing on buildings is no different. What a magic history to tap into! I let children draw on the glass panels of my studio with crayons when they visit’.

Some strange alphabet includes sculpture, an old love. No longer purely derived from his painting, his sculpture has become an independent journey into a universal language. Previously he made editions, but now Paul finds the momentary, ‘timeless’ aspect of one-off pieces more appealing. The fragility of materials like glue, paper, wax, things that do not last, metaphorically invoke their opposites: durability, stability. Negative spaces point to what exists, or is believed to exist, or is dreamed into existence.

Paul makes a connection between his interest in metaphoric paradox and the fact that his first solo show in a commercial Johannesburg gallery is the result of collaboration between two different galleries from two different cities. Traditionally a world of competition rather than collaboration, old notions of art dealing may be changing too. Could Some strange alphabet be a better demonstration of new affinities, similarities, meeting points?

by Antoinette du Plessis 

Artist recreates Mandela Hand in Bronze $3.5 Million at auction

Mon, 14 Jul 2008 22:39:35 +0200

Artist recreates Mandela hand 3:58
CNN's Becky Anderson interviews Paul du Toit, commissioned to make a bronze cast of Nelson Mandela's hand.

Video Link on CNN
http://www.cnn.com/video/#/video/world/2008/06/26/intv.mandela.hands.artist.dutoit.cnn?iref=videosearch
June 26, 2008 A specially erected marquee in the heart of London’s Hyde Park was the unique and splendid setting for last night’s birthday dinner celebrating Nelson Mandela’s 90th birthday. The private event was held in London to raise funds for Madiba’s global charity projects, the Nelson Mandela Foundation and 46664.
The evening of tribute and thanks to honour the world’s most iconic and loved leader included a tribute from UK Prime Minister Gordon Brown, followed by former US President Bill Clinton. Other guests among the 520 who attended included Cherie Blair and leading industrialists, including Sir Richard Branson.
Mr Mandela addressed the audience and said:
Friends, thank you for joining us here this evening, and your support for our causes.
It is a great privilege having been able to travel here in our 90th year and be in the presence of so many good friends.
Thank you for the continuing support in the fight against the terrible scourge of HIV and AIDS. You understand that it is in your hands to make a difference.
The world remains beset by so much human suffering, poverty and deprivation. It is in your hands to make of our world a better one for all, especially the poor, vulnerable and marginalised.
We look back at much human progress, but we sadly note so much failing as well. In our time we spoke out on the situation in Palestine and Israel, and that conflict continues unabated. We warned against the invasion of Iraq, and observe the terrible suffering in that country.
We watch with sadness the continuing tragedy in Darfur.
Nearer to home we had seen the outbreak of violence against fellow Africans in our own country and the tragic failure of leadership in our neighbouring Zimbabwe.
It is within this context that we should also see the plight of those affected by HIV and AIDS.
It is now in the hands of your generations to help rid the world of such suffering.
I thank you.
Paul Gambaccini hosted the evening and was joined by a host of international friends and supporters including Oprah Winfrey, Forest Whitaker and Robert de Niro and 46664 ambassadors Will Smith, Brian May, Roger Taylor and Annie Lennox, together with the performing artists for tomorrow’s 46664 90th birthday celebration concert.
Hugh Edmeades from international auction house Christie’s presided over an auction with a truly unique and remarkable collection of items including a unique bronze cast of Mr Mandela’s hand by Paul du Toit which fetched $3.5 Million.
A special rendition of the 46664 HIV/AIDS play Khululeka - It’s in our hands was also performed by Viva Hecate Productions.
Guests were given the opportunity to pledge for their own limited edition silver 46664 bangle. The signature bangles, which will raise funds for 46664 HIV/AIDS awareness programmes, are made by South African craft workers using local precious metals. A special platinum and diamond 46664 bangle handmade by Rael Kahn was one of the unique lots available at the auction.
Funds raised on the night will help to promote Madiba’s legacy through the Nelson Mandela Foundation and support 46664 HIV/AIDS projects and outreach campaigns in sub-Saharan Africa. The evening was sponsored by Investec.
On Friday June 27, the 46664 concert to honour and celebrate Nelson Mandela at 90 will be staged in Hyde Park.

The hand that touched the world

Tue, 10 Jun 2008 15:38:21 +0200

The hand that touched the world
by Helen Bamford
Cape Argus
June 08 2008 at 01:27PM

A unique bronze cast of Nelson Mandela's right hand will be auctioned at an event in London to mark the former president's 90th birthday. Created by artist Paul du Toit, the life-like hand shows every crevice and line of what Madiba calls his "boxing hand". Du Toit, a self-taught artist who has exhibited all over the world, recalls how terrified he was on having to plunge Mandela's hand into a bucket of dental silicone for the original impression.He had experimented the day before with his own hand as there is plenty that can go wrong.

'It had to do with touch
to reflect the way
he has touched the world'

"It sets so quickly. While you are working it changes colour so you know when you have just seconds before it sets." The silicone also starts shrinking within 48 hours so Du Toit had to get it quickly from Johannesburg to his studio in Hout Bay in order to continue the process. Du Toit last year created Mandela's hand print in black paint. It was later auctioned to a collector in Devon, England. Du Toit said he wanted the image to reflect touch. "It had to do with touch to reflect the way he has touched the world. "My immediate thought was the cave paintings and how people had transferred their handprints using red ochre." It involved Du Toit painting directly onto Mandela's hand using an acrylic so it would come off easily. Du Toit said he was so nervous he was shaking. "But Madiba puts everyone at ease. He is so relaxed with people and he is still so sharp and quick." The bronze hand will be auctioned at a dinner attended by the likes of former US president Bill Clinton, British prime minister Gordon Brown, and actors such as Will Smith, Oprah Winfrey, Robert de Niro and Forest Whitaker.

A 46664 concert featuring artists such as Queen, Annie Lennox, Simple Minds and The Corrs is planned for London's Hyde Park on June 27.
This article was originally published on page 5 of Cape Argus on June 08, 2008

New York 2008

Wed, 9 Jan 2008 09:00:50 +0200

REGENERATION

January 10 until February 23, 2008
Opening reception: Thursday, January 10, 2008, 6-8 pm

The Kyle Kauffman Gallery cordially invites you to REGENERATION.

A preview of works available in the exhibition as well as other works available through the gallery can be seen at:
www.KyleKauffman.com

The exhibition will include works by the following artists:

Jane Alexander, Paul du Toit
Wayne Barker, Humzah Goolam
Willie Bester, Dan Halter
Conrad Botes, William Kentridge
Norman Catherine, Esther Mahlangu
Marlene Dumas, Nontsikelelo 'Lolo' Veleko

Press Release:

The Kyle Kauffman Gallery is pleased to commence the new year with Regeneration, a group show of contemporary South African art. The exhibition will include work by the artists William Kentridge, Marlene Dumas, Nontsikelelo Lolo Veleko, Esther Mahlangu, Jane Alexander, Wayne Barker, Willie Bester, Conrad Botes, Norman Catherine, Paul du Toit, Humzah Goolam, and Dan Halter.

These artists represent the latest generation of artists working in South Africa today. Regeneration brings to the forefront young artists, such as Halter and Veleko, whose fresh and unique aesthetic voices have expanded the narrative of 20th century African art. Moreover, the exhibition includes new acquisitions and the most recent work by established artists such as William Kentridge, which demonstrate the way contemporary masters are forever reinvigorating and reinventing their practices. Regeneration also reinforces the gallery commitment to introducing new voices to the New York art scene. We are showing for the first time works by Paul du Toit, Norman Catherine, and Humzah Goolam. The resulting body of work is impressive and multifaceted, embracing a range of media, genres, and thematic explorations. Please join us to kick off the new year with Regeneration.

Regeneration marks the start to an exciting year at the Gallery featuring upcoming solo shows by the artists Esther Mahlangu, Willie Bester, Paul Du Toit, Conrad Botes, and Dan Halter.

The Kyle Kauffman Gallery, the newest addition to the red-hot art scene in New York City, is located between Chelsea and Hells Kitchen. The focus of this space is to exhibit the highest quality artwork by both established and emerging artists from Africa and from the African Diaspora. By doing so, the Kyle Kauffman Gallery provides a unique perspective on the vast and ever-emerging contemporary art scene by presenting new and exciting examples of the cultural and aesthetic production of Africa, the area of the world almost completely neglected by most art galleries and cultural institutions.

Please join us at an opening reception on Thursday, January 10 from 6 to 8 pm.

For further information, please contact the Gallery.