Exhibition Date: 
Friday, September 4, 2015 to Sunday, October 18, 2015


As the perspectives around consumerism developed in the 20th Century, the focus of the art world turned toward a different means for creative output and discourse. A crucial meeting-point for art and design came about in the means with which artists looked for alternate practice of working. With the Bauhaus and De Stijl movements of the 1920s and 1930s, artists began reconsidering the function of architecture and design. By ‘revisiting’ the Bauhaus process and understanding, we are exploring new possibilities in the interaction of contemporary art and design.
In creating a space for collaboration and experimentation, the BAUHAUS REVISITED launch project works with prominent designers and artists, just as the Bauhaus School sought to join artistic mediums. The notion of the art object and the reconsidering of art practices are represented as physical manifestations in the curation of art and design pieces within the gallery space for each creator-curator. From local artists, Albert Coertse, Richard Scott and Natasha Barnes to interior decorators, architect and designers Shelley Street, Frank Böhm and Haldane Martin, the creative collaborations further the vision of ECLECTICA Design and Art to form a platform for new possibilities. 
The launch event’s guest speaker, Andrew Lamprecht, is a curator, contemporary visual artist and senior lecturer at the Michaelis School of Fine Art. The ideas outlined in his talk have been visually explored and re-interpreted. Just as Bauhaus sought to explore new possibilities of art, design and architecture, so too does the Gallery hope to create a dialogue as to existing and new possibilities for this crossover. The distinct methods of teaching within the Bauhaus school lead to a creation of a distinct and eternal style within the history of Art. By ‘revisiting’ Bauhaus, the methods and means of creation by the school will lead to exciting future innovations within the gallery collection. The current exhibition will run until 18 October. 

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Natasha Barnes

Artists Statement  The nature of my installation is transient, lasting only for a short time, like a season, like a garden, like a pond and the leaves that fall upon it or the ripples of a stone. Transient is the emotion I wish to evoke when entering my space. A space to linger only for a short time. The painting bearing the same title translates to the transient nature of our fragile world, each awakening dawn brings beauty and nature that transcends all expectations, but fails to linger, if only in our mind. Passing through notable for only a short time. Does Nature see our Gardens as lurid? Does the Jacana see the colours I do? Or does he merely colour my life with his presence. Born in 1969. Self-taught without any formal art training I have been painting since the age of seven. Today after 20 years, my work is widely considered to be one of South Africa's most published. My painting has a profound passionate style, exhibiting expressionism, colour and movement. The fluid brushstroke and transient nature of my paint blends to a unique yet powerful Abstract expressionism. My inspirations found in my numerous travels abroad and the rich African imagery surrounding my life. The paint finds its way to my canvas without visual reference. This is my Art.


Haldane Martin

Artists Statement  Haldane Martin is one of South Africa's celebrated furniture designers. Like the renowned designers Ron Arad, Harry Bertoia and Le Corbusier he is inspired by natural and organic forms.Haldane's biomorphic designs as in the "Hex Tables" is reminiscent of the versatility of design during the Bauhaus period. The " Simplicity chaise lounge " is a classic postmodernist reinterpretation of the icon Le Corbusier chaise.



Shelley Street

Artists Statement   Country roots, passion for nature and sustainability are the driving force behind most of my design work. I hope to achieve spaces that are tactile, personal and soulful, and here have used original mid century design pieces and combined them with beautiful images where nature has been used as the source of inspiration. I particularly like this lithograph by one of my favorite artists, William Kentridge, and have mixed it with some simple nature inspired images and prints, which keep the space grounded and personal. My preference is for using new original design or design reused from the past, with simple lines, sustainable lead and voc free paints, led lighting and more sustainable floor options whenever possible.

Albert Coertse

Artists Statement  These pieces form part of a somewhat intuitive series of embryonic compositions, devoted to the ideal of the purity of geometric formations, as observed throughout our natural world. I strive to develop compositions that are not only symmetrically proportioned but also dynamically balanced in order to create a strong sense of organic rhythm and movement. These pieces slowly evolve through a calculated process of concealing and layering sequential flat colours. The final piece is literally ‘unveiled’ at the end of the process when the entire coating of insulating tape is removed. Maintaining compositional coherence throughout the process is somewhat challenging and demands a lot of patience. It is nevertheless the precarious synergetic relationship generated between colour and rhythmic configurations, and how these elements interact in the spatial field once each piece is exposed, that fills me with great joy, excitement and infinite curiosity.

Richard Scott

Artists Statement  I’ve been attracted to the Dutch De Stijl movement for some time. This was my opportunity to explore this desire I had to create something connected to the simple red, blue, yellow, white and black colours, so distinctive. In reviewing the gallery collection my eye was caught by the Rietveld Chair and that was it. I was then inspired to use my current "Trees". Doing some research I was intrigued by Piet Mondrian’s Grey tree of 1912. Was that tree - the start of it all - the beginning of the journey to simplify art to simple colours and lines? The colours speak for themselves and so do the square canvasses. The juxtaposing and balance in the simplicity of Rietveld's chair, and the complexity of the supposed simple "Richard Scott Trees" is an interesting mirror.

Frank Bohm

Artitst Statement  Expressing a vision is more often than not a complex task – at the Frank Böhm Studio our vision is expressed in individual facets which when they come together create a whole. Such components include the studio experience, open communication, design conceptualization, tweaking and manufacture to end product. We are a design house manufacturing from small; sculpture to furniture to lighting; to large, private and commercial architectural projects. Each project is unique forging its own journey to discover and produce a physical result. As a studio we keep ourselves on par with international design trends whilst remaining true to our heritage and ensuring a contemporary African character. The studio focuses on producing real and honest designs that stay true to the material used. Each material is celebrated through details in the design exposing the natural colours without masking them, cracks in large timber beams, raw edges of milledd steel and the pliable nature of corian. We take the bull by the horns and enjoy the journey that each material type takes us on. There is often a pause for reflection when viewing a piece as to assess where the line is drawn between what is art and what is furniture or do they coexist in each piece?

Biography  Frank Böhm is the designer that drives the creative force behind the studio. Frank Böhm Studio was established in 2008 as primarily an architectural firm but in 2010 Frank’s passions lead him to develop various furniture ranges. In conjunction with the furniture, is the architectural work that the Studio has immersed itself in. Frank Böhm Studio is focused and determined to develop a design house that represent its own design language. The studio develops products that reflect its African ways with simple architecturally clean lines - our own persecution of vision and detail. We express a unique language that boosts quality engineering, scrupulous attention to detail and meticulous attention to the end product in all we do. As a designer, Frank refuses to mask the true nature of materials, embracing their honesty to create objects that have a vision of realising their already existing beauty. This is clearly evident in both the architectural and furniture design emanating from the creative minds at Frank Böhm Studio. We love to challenge the conventional and mundane as our studio is anything but conformist and predictable. We are not asking for permission or forgiveness for recycling existing ideas because we use these as building blocks to redevelop library of thoughts that we consider. Instead of nurturing the desire to latch onto the existing, we observe and then follow our way in developing design that is the solution for us at the time.

Lars Fischedick

Artist Statement   I use various size formats in wood, resin, metals and acrylic with fine attention to detail and technical precision through cutting, carving, painting and casting. Some of my pieces are planned, using my technical experience to work with exact measurements and calculations in the construction process. Other pieces are process-oriented: an exploration of the material and the dynamic tension between different materials, textures, reflections and the energetic field. Abstract and shifting perspectives: from the inner workings of the human cell to detailed aerials of Berlin and New York. In a world where people are living a majority of their waking hours in an illusionary two-dimensional existence through computer screens and television, my work challenges one to extend one’s perceptual comfort zone. I am exploring the meeting between reality and illusion. The movement from the surface into the 3 dimensional space and further: pushing the boundaries within my own perception and those of my audience. The third, fourth and maybe fifth and sixth dimensional space around and within us. I believe there is another ‘reality’ around us which we don’t know about, the unproved that reveals itself through projective Geometry: forms that simply emerge within composed and organized lines. Making things visible where there is no mathematical or scientific proof. 

Biography   Born in 1968, Lars has spent the last 25 years in the examination of 3 dimensional spaces: This has been achieved through architecture, model building, sculpture and installations. Lars was born in Germany and worked in Contemporary Architecture and collaborated in various Exhibitions including Christo and Jean-Claude’s Wrapped Reichstag Project for Berlin; one of contemporary arts most innovative projects in the mid 90’s. The artist moved to Cape Town in 2002 and since 2010 Lars has moved away from the architectural. By combining his knowledge of materials such as wood and resin with perceptual shifts from aerials to perspectives he has formed a new artistic narrative. A major influence in Lars’s current work is his studies in mathematics and projective geometry, particularly explorations from the personal inner perspective to the geometrical infinite. Through his work, Lars gives his audience an experience of space, challenges their perceptual boundaries, and makes invisible aspects of this experience, visible.  In his own words; it is both logical and playful, mathematical and infinite. Lars draws upon inspiration from the artists Kandinsky, Mondrian, Le Corbusier, Dali, Rietveld and the architectural experimentalists like the Russian Deconstructivists. The Haus-Rucker-Co and current architects like Liebeskind and Gehry are considered by the artist to be his artistic ancestors and companions. Tenguely, Beuys, Serra and Christo were concerned with ‘bending’ the space in and around us and have provided Lars with contemporary references. Comparisons can be made with South African greats; Cecil Skotnes, Lucky Sibaya, Albert Newell – all experimentalists in the use of 3 dimensional space. The discovery of anything new changes our perception and the way we see and experience the world we live in. Why did the aboriginal people on the continent of America not see the ships of Columbus rising on the horizon? It was apparently not within their reality. So, if I stand in a closed up old barn and I can see through the gaps of the planks the outside light, but not the rays streaming in. Only the moment I kick some dust up do the rays become visible right in front of me. This does not mean that those rays didn’t exist the moment I entered the barn. It became part of my reality the moment I kicked the dust. My art is about kicking up that dust



Adrienne Silva
Artist Statement  'I have never differentiated between my creating and daily routine. I feel creativity is at the essence of my being.'
Adrienne Silva is a painter concerned with 'roots' and the source of meaning. She translates her interests in paint using many layers of colour and brushwork texture.
A description of Adrienne's painting About Face by Andrew Lamprecht:
An explosion of colour greets the viewer of Adrienne Silva’s About Face. Abstraction and form compete for our attention and the gorgeousness of her composition can invoke a fairy wonderland as much as fantastical reworking of an everyday scene. The suffusion of pinks, lavenders, mauves and similar shades on the canvas evoke springtime but the title perhaps alludes to another reality: one that is located in the realm of human interaction and the way we respond to the world around us.
Greg Dougal writes:Thought-provoking work from South African artist Adrienne Silva invites us to study what is happening in her work and what we can learn from it. Our heritage is a rich resource which , as we grow ourselves, we seem to understand and embrace-how it has informed us. Yet is is elusive and eroded by the passage of time and other factors beyond our control so we cannot delay our search for hidden meaning. Adrienne lives & works in Cape Town South Africa. Fully Immersed in investigating the Universal.She does not differentiate between art-making and daily routine. Political Philosopy is her grounded foundation and forgetting Picasso's quote."No,painting is not done to decorate apartments. It is an instrument of war." Recent exhibition, Arte Universal, abroad (Europe)in Museu de Resistencia e Residentia in Lisbon.A View of the World: Galeria de Arte Lisboa and Stellenbosch Wordfees/Literary Festival and Rhino Project in 2013. Commissioned theme in Europe exhibition : World View:World Suffering. In South Africa 2013 Theme was Heavenly: two opposing themes overlapped. www.adriennesilva-painter@blogspot.com https://adriennesil.see.me/

Which new trends or South African artists do you find inspiring at the moment?
I am always fascinated by street style, especially now with all the influences sharing the spaces.

Which South African deceased artist do you most admire and why?
Alexis Preller for his vision , symbols and colour.

Which exhibition that you have visited made the greatest impact on you and why?
Pierre  Solanges at the Pompidou. The impact of those black brushstrokes.

Where do you get your inspiration for your work?
I really push myself when I get commissioned for an exhibition.especially with a theme.

Do you have any rituals or habits involving your art-making that you can tell us about?
Do the Work..the best habit.

What do you like most about being an artist?
I  think and work most of  the time.

How do you handle bad days when you experience artist's block?
Go back to my studies. My background is Political Philosophy.

What is your greatest achievement as an artist to date?
Three Women  in Europe Show 2011 ( Views of the World and I represented the South African view.)

Do you feel that you want to make a difference to the world or in people's lives? If yes, how?
I like to provoke the viewer to re-member or re- think.

What are your plans for the coming year?
Preparing my 2015 Post Grad Dip enrollment at Michaelis UCT.