Interacting with artists involved in the Contemporary Reflections project was a great privilege. Their willingness to share the trials and triumphs of research and working processes stimulated further discussion and consolidation of ideas. Viewing preliminary work was a revelation; the range and breadth of responses quite astonishing. Roger Fry's paper flowers recreated in wire and beads, Frederick Bacon's Victorian beauty replaced by a handsome male Goth, Hennie Stroebel's excessive treasures and pleasures transformed into an equally over-the-top handmade book - these are some of the responses to the challenge of reinterpreting works in the collection from a contemporary perspective. We are very grateful to all participants for the time and energy they have invested, and special thanks to Teri Broll and Louise Hall of the Exhibitions Committee who co-ordinated the process.
We were surprised that Roger Fry's painting elicited such interest. It is a beautifully crafted piece of British modernism. References to Post-Impressionism and craft in a domestic environment obviously struck a chord.
The British modernist aesthetic is central to another major exhibition on show during this period, the Heath Family retrospective. I had the pleasure of working with Jinny heath and Juliette Leeb du Toit, selecting work for the show. Not an easy task - there were masses of portfolios to sift through. It became very evident that we had to reflect the Heaths' involvement with many types of art making, from painting to lettering, photography and newspaper cartoons. What struck me forcibly is that "grand" paintings are not always the artists' finest production. Sometimes, as in this case, the humbler, smaller works are equally, if not more exciting. As with Contemporary Reflections, it is the process of art making which is important, not necessarily the final product.
We continue our reflection on the Gallery collection with a show highlighting the work of KwaZulu-Natal women artists from the mid twentieth century onwards. Many of these works are well known but are seen in a different context, and with other less frequently exhibited pieces.
Zotha Shange's rolling ball sculptures were a huge success, mainly because of their interactive nature. And because Zotha was in residence creating a new work, and keen to talk to visitors. More interactive shows of this type worth considering.
Two more projects are in process. FOTAG's Fabulous Picture Show deadline is in August, and response to requests for work has been encouraging. Artists have been notified that Jabulisa 2010 is approaching fast. The deadline for submissions is February next year.
My staff have been wonderfully supportive in allowing me time to complete text and design for "the book" as it is now referred to. It has been a major undertaking, but as with art making, the process is as important as the product. As funding is limited and the material so extensive, we have decided on two publications, hoping that funds generated from sales of the first will allow us to complete the second.
I am sure everyone who knew her was saddened by the death of Jean Kudernatsch. It is always hard to lose someone so integral to the Gallery. At the same time, there was also a sense of relief that Jean's long, long battle with cancer had ended. Through it all she soldiered on with great courage and good humour. Our thoughts are now with her husband, Otto, for whom the loss has been very hard.
Brendan Bell