Andrew Verster - Odd Conversations

Thank you to Tony Starkey and Themba Shibase for allowing the Durban University of Technology, Third year Art Theory students to post their thoughts on Odd Conversations. This was done as an exercise to see how the art students would make sense of whether they see Verster as an artist who engages with contemporary discourse or not.

Thank you to the students.

Andrew Verster - Odd Conversations

CONTEMPORARY, CONCEPTUAL OR DECORATIVE

Now on exhibition at the KZNSA Gallery is work by Andrew Verster; it is a retrospective exhibition, which is touring all the national galleries. The title of the exhibition is Odd Conversations. The question being asked about Verster's work "is it contemporary, conceptual or just plan decorative?" Before going on to discuss the work, Andrew Verster was born in Johannesburg in 1937; he studied at Camberwell School of Art and Reading University. Verster lectured at the University of Durban Westville and the Durban University of Technology until 1976, Verster then became a full time artist. Verster’s forte seems to be collage, tapestry and painting.
(KZNSA gallery) (Verster, 2007)




From Notes on a Crucifixion (Red & Black)
2008
Oil on canvas
9 panels, each 120 x 30cm

I will discuss one of Verster’s painting an oil on canvas; the work is called Notes on a Crucifixion. Discussing the work formally, this piece is a one-piece work with nine panels each 120 x 25 cm, Installation dimensions variable. The panels have been positioned as a crucifixion. Images are of arms and legs. The arm panels are on the top and are facing each other and the bottom of the cross are the legs. The background colour is black and the arms and legs are red with bright decorative patterns painted on them. What is highlighted is the show is the 'visual language'. According to the KZNSA gallery

"It is here where Verster's love for and celebration of colour show his true mastery.Presented as patterned bodies, the inner thigh muscle of a Greek god jostles against a West-African fetish, the Phoenix with its feet in the ashes has its beak in the crook of a Roman armpit; an Indian deity vests its undulating inter costal muscle-bed with a meditative feverish glow; further along, past where the wrist meets the hand, a nebulous constellation spirals into a stigmatic wound: a point of trauma transformed into a point of beauty." (KZNSA gallery)

When looking at the exhibition as a whole Verster has appropriated religious icons of Hinduism as well as the Greek influence and African influence. What is interesting is that he appropriated all the traditional images of the above cultures. Not only does Verster use the traditional medium of paintings but he has used other mediums, which are digital prints, handmade paper, found objects, tapestry and collage. The collage pieces situated in the Nivea Gallery have deep hidden meanings to the works, when you add all the objects together, you can maybe tell a story about the artist himself. The use of found objects, tapestry and collage is a very contemporary and post modem approach. On the other hand, the paintings of Verster are very decorative; they are almost like Gustave Klimt's paintings in terms of the decorative values. These patterns could be a metaphor of scarification but turned into something beautiful. Yet in most of Verster's works I find that they are mostly decorative and lacking conceptually.

It is hard to say whether Verster's works are contemporary, conceptual or mainly decorative, I would personally say they are both. I find that Verster celebrates the medium rather than the concept. But, because I have to choose one, I would say they are contemporary because of the use of digital print, tapestry and collage, those mediums play a big role in what is contemporary and post modern. I really appreciated the execution and the amount of work that Verster had produced. I appreciate the use of detail and the obsession that has gone into producing this body of work.

References:
1. Verster, A 2007. Profile. [Online] Available from: http://www.andrewverster.co.zalevents.html [Accessed 2 September 2008].

2. KZNSA Gallery. 2008. Andrew Verster. [Online] Available from: http://www.nsagallery.co.zalcurrentmain.htm [Accessed 2 September 2008].

Katherine Symons

Andrew Verster - Odd Conversations

The work of Andrew Verster is currently on show at the KZNSA gallery in a solo exhibition titled Odd Conversations. The works boast stunning colour and pattern in Verster's decorative style. With a variety of pieces ranging from paintings on canvas to digital prints to collage, it is definitely interesting and worth taking a look at, but is it contemporary?

Odd Conversations l-Vll [Installation view]
2008
Wax, tissue paper, steel pins, pigment
120 x 80cm

Although Verster makes reference to art history throughout the works in the show, the strength of the works are the decorative and aesthetic qualities. I felt the strongest conceptual pieces to be the Notes on a crucifixion series displayed in the main gallery. Each series consisted of seven, oil on canvas panels each 120cm x 30 cm. Occupying each panel was an arm or leg painted in bright, bold complimentary colours and decorated with patterns of colour and historical images. The reference to art history in the images and Verster's careful consideration as to how to display these works suggested an underlying discourse in the work, although I felt that this particular series became too monotonous to prompt the viewer to engage in the work. Perhaps subtle differences in each series would promote dialogue between the works, but by using the same images in all the panels I was not challenged to look further.



Odd Conversations l-Vll [Installation view]
2008
Wax, tissue paper, steel pins, pigment
120 x 80cm

Throughout the show, the figures portrayed seem to be tattooed with pattern and design. I interpreted the tattooed images as commenting on how various ancient religions, cultures and beliefs are ultimately imprinted in history to influence the present. I also feel that Verster's choice to visually fuse various cultures and beliefs together comments on cultural hybridity.

Overall I felt that Verster's work is contemporary. The exhibition was visually stimulating, although pieces of the show became monotonous and works could have been pushed conceptually.

Nicole Erasmus

Andrew Verster - Odd Conversations

A CONTEMPORARY RETROSPECTIVE

An exhibition of veteran artist, Andrew Verster’s multi-disciplined work is on show at the KZNSA. On display are a number of paintings, collages and objects. They range from monumental paintings to small detailed studies. The first thing that hits you is the colourful and decorative nature of his work. It is beautiful and excellently produced and presented. The work may be decorative but it is by no means superficial.



Classical Graffiti l-Vll
2008
Digital prints on canvas
Each 60 x 40cm


Vester employs a number of post modern techniques thus the works start to speak on more than one level. In Classical Graffiti series (2008) he appropriates imagery from art history such as Pharaoh and Greek Statues. However he superimposes his trademark designs on to the nudes or portraits. This practice can be viewed as subverting the traditional depiction of the male nudes. The depiction of the male nude has been viewed as a Eurocentric or Western view but the appropriation of different cultures such as Japanese prints or African iconography. Verster makes commentary of the hierarchy that exists in the high art context and to a greater extent he comments on the discourse of the other.



Classical Graffiti Vl
2008
Digital print on canvas
60 x 40cm


It can be argued that his focus on aesthetics disqualifies him as a contemporary artist. One needs to ask himself if that is enough for such declassification. Verster’s work lends itself to a variety of readings and contemporary commentary. For example, his treatment of the figures is not traditional. In combining the nudes with different cultural aesthetics and iconography he not only speaks of an identity, but also the subverting of an aesthetic and stereotypes.

The work makes one question what he sees. He questions the way things are and becomes aware of the possibilities of varied viewpoints. That realisation in itself is post modern.

Sheryl N Msomi

Andrew Verster - Odd Conversations

The KZNSA hosted a show of works by Andrew Verster titled Odd Conversations. He is a veteran artist who lives and works in Durban. He has held over fifty solo exhibitions, which shows that he is experienced in the field of arts. His works explores cultural identity and history; he says, "In each work I write my own history which in turn is entangled with everyone else's" (http://www.andrewverster.co.za/profile.html). In his work he appropriates images from Western, Asian and African culture and these images form part of the human figure in that they are inscribed on the human figure and somehow become a part of it. His work varies from flat backgrounds to areas of focus where he pays special attention to detail.




Wrestle I & ll; Collector's Room l & ll [Installation view]
2008
Oil on canvas
Wrestle: 180 x 180cm
Collector's Room: 180 x 220 cm

In Wrestler I and II he uses a dark background where figures appear and there seems to be a struggle between the figures. He uses a very subjective colour orange, and within the figure he tattoos the form with imagery of recognisable symbols from western sculptures and uses imagery of Chinese geisha. He chooses to work in a more decorative and patterned style. In Wrestler II the forms become more abstract and there seem to be more intimacy between the two figures. I think the figures are both male because he has used a very masculine approach in portraying them.



Wrestle I [detail]
2008
Oil on canvas
180 x 180cm

One may ask if Andrew Vesters works challenge contemporary discourses, with its decorative patterns of cultural aesthetics. Many have argued that his works are too decorative and belong in the area of decorative art. When I first saw the works I must say that I shared these sentiments, but further investigations into the work I realise that the formal aspects of the work lead to conceptual arguments. I felt that the artist uses the decorative aspects to pull the viewer in, and in the body art that he layers into the isolated limbs he starts to appropriate imagery from many cultures i.e. western and Asian. He says, "Images from the beginning of time mingle, Africa and India, Europe and America, the serious and the trivial, things buried in my mind surface at a moment unexpectedly, and marry." (http://www.andrewverster.co.za/profile.html). In his works he tries to marry other cultures into his own life and at the same time he questions human relations. This leads me to questioning his choice to title the exhibition, Odd Conversation. A conversation is talk between two or more people; it is how human beings relate to each other. In Wrestler we see two 'men' in a very intimate conversation, a physical conversation. Whether they are in conflict or celebration that for the viewer to decide, but I think it a very celebratory conversation. Because of the happy orange that he uses and the flat black background does not give a sober feel to the image but enhances the celebratory mood. I think he is talking about the celebration of relationships, "odd..." relationships. The ones that society at large doesn’t accept and are cast out as being "not normal". It is still uncomfortable for many people to accept that a man can assume a very intimate conversation with another man. Society wants to see men taking a position of domination and being tough towards each other (wrestle) instead of cuddling with another man. So by appropriating and touching on human relations he does challenge a contemporary argument.

Another question that I want to raise is that does a work have to raise a contemporary issue in order for it to be valuable enough to be considered high art. Shouldn't the viewer be the one to decide the worthiness of the work and place it there?

Nomcebo Sithole