Alta Botha, searching for an iconography of uncertainty I, 2020. R15900-00
Alta Botha, searching for an iconography of uncertainty I, 2020. Rives paper 300gsm, activated charcoal, Indian ink, mull and silk thread 395 x 57 x 30 mm. Unframed. Provenance: Artist.
All papers are archival.
MORE ON THE ARTIST
Alta Botha (b. 1955) is a Cape Town-based independent artist who exhibits locally and internationally. She holds a B degree in Visual Arts (awarded Visual Arts Prize, Unisa, 2005) and an MA in Fine Arts (with distinction, Michaelis School of Fine Art, University of Cape Town, 2014).
Since 2012 Botha has been exploring the possibilities of contemporary drawing employing process driven methodologies. Using paper and found and activated charcoal as primary media, she works towards transforming the materiality of substances and surfaces through reductive and ‘abusive’ procedures. Dematerialising actions of erosion and perforation – the scraping and sanding of paper, and the burning of wood to charcoal – are counterbalanced by processes of retrieval and reconstruction, like the sewing together and dressing of torn surfaces. Her acts of reparation recall an earlier career in nursing – her hand-stitching, as a mark and a conveyor of meaning, is linked to care. Botha considers drawing as a complex filtering between inner and outer processes – between deep structures of thought and their coming into being as surface structure. The incremental unfolding between processes of conscious and unconscious awareness is central to the transformations she works towards.
Solo exhibitions include fore/after (2017), fragile equilibriums (2014), Odd objects (2008) and Angle of repose (2006).
2020 – Cape Town (South Africa) – Home Is Where The Art Is (group)
2019 – Bloemfontein (South Africa) – dwell in possibility (group)
2019 – Cape Town (South Africa) – nano 1.3 (group)
2019 – Cape Town (South Africa) – Summer exhibition (group)
2018 – Oudtshoorn (South Africa) – Vuurdans (group)
2018 – Knysna (South Africa) – Vuurdans (group)
2018 – Franschhoek (South Africa) – Yarn (group)
2017 – Hermanus (South Africa) – fore/after
2017 – Hermanus (South Africa) – FynArts Festival (group)
2016 – Brooklyn (New York) – Imago Mundi (group)
2016 – Hermanus (South Africa) – FynArts Festival (group)
2015 – Venice (Italy) – Imago Mundi (group)
2015 – Creekside (London) – However (group)
2014 – Stellenbosch (South Africa) – What lies beneath (group)
2014 – Cape Town (South Africa) – fragile equilibriums
2013 – Cape Town (South Africa) – HereThere (group)
2010 – Stellenbosch (South Africa) – Woordfees (group)
2010 – Cape Town (South Africa) – The gift of fine art (group)
2010 – Hamburg (Germany) – 152, Kunst macht Schule gGmbH (group)
2009 – Stellenbosch (South Africa) – Woordfees (group)
2008 – Hermanus (South Africa) – Odd objects
2006 – Cape Town (South Africa) – Angle of repose
2004 – Durbanville (South Africa) – Artwords (group)
2004 – Durbanville (South Africa) – Seven deadly sins (group)
2004 – Bellville (South Africa) – BVA Examination Exhibition, UNISA – Angle of repose
2003 – Durbanville (South Africa) – Self-portrait (group)
2003 – Durbanville (South Africa) – Trilogy (group)
2003 – Durbanville (South Africa) – Flowers and vases (group)
2002 – Rome, Temple of Hadrian (Italy) – Memories of Hadrian (group)
2002 – Durbanville (South Africa) – Summer salon (group)
2001 – Bellville (South Africa) – Vuleka (group) (awarded New Signatures Cape Best Graphic Work)
2001 – Bellville (South Africa) – Crisp (group)
Between the known – the not-yet-known and the almost forgotten – exists a poetic tension. As artist I work in and between these ever shifting domains of tension as it relates to place - as the titles of the works suggest. Working with the primary media of paper and charcoal, I erode the materiality of the paper, perforating the surface in anticipation of a mark and image to emerge. The tactile materiality of the surface incrementally reveals itself, offering nuances in texture, tonality, and depth of both paper and charcoal. The intimate process of interaction with these materials, becomes one of uncertainty and tension. Through processes of separation, fragmentation and layering, I begin to reimagine the relationship between place and memory in all its porousness and fragility.
SHIPPING AND RETURNS
All goods are subject to availability.
Shipping & Delivery
We make use of professional, reputable couriers for the shipping of work all over the world. If large quantities are ordered, this must also be taken into consideration, so please allow for extra delivery time.
Artworks will be dispatched to buyers at the latest when the exhibition period has expired, or preferably sooner. Delivery is achieved after payment has been received.
Shipping price is determined by chargeable mass. A final shipping quote will be confirmed to buyers once the export duties and taxes have been confirmed by ALL destinations.
TERMS AND CONDITIONS
Occasionally factors outside of our control can delay the delivery of an order, so we ask for your patience if this happens on the odd occurrence. Once your order is on its way, we will be in touch again to let you know.
Should you need us to resend any parcels which are returned to us due to an incorrect or incomplete address listed on the order form, and/or parcels which could not be delivered after 1 month and is therefore returned to us, you will be liable for the additional charge for the delivery.
Should your purchase arrive and in the unlikely event that the item is damaged, please contact us at firstname.lastname@example.org.
Should a package not be delivered through no fault of ours (for example: no one on the premises to take delivery, you are unable to answer calls or an invalid or incomplete delivery address is provided) we will attempt a second delivery after which, if the package is not delivered, you will be liable for all additional costs associated with the delivery of the package. Should you request a refund as a result of these failed attempts, you will be refunded the price of the products less the additional delivery costs.