[Gallery] Prizm 2020 - Dyman Gallery
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551393
Dominique Zinkpe
Ambiance velo (Bike atmosphere), 2019
Sculpture
79 x 71 x 31 in.
200.7 x 180.3 x 78.7 cm
DZ0001
$ 14,270.00 USD
Hessian, Wood, Glue, Wire, Found Object
Dyman Gallery
In his words, "The main influences on my work are African and Western cultures. On the African side, it’s the Animists, with the Westerners its Egon Schiele, Basquiat and Bacon. That's what feeds my creativity, helping me create my artworks. It seems I was born to create art because I have skills that help me create. So very early on, I decided only to do art. I think the world helped me discover art. Basically, I just want to share what's on my mind - its that simple. So, the world inspires me to create"
Dyman Gallery
In his words, "The main influences on my work are African and Western cultures. On the African side, it’s the Animists, with the Westerners its Egon Schiele, Basquiat and Bacon. That's what feeds my creativity, helping me create my artworks. It seems I was born to create art because I have skills that help me create. So very early on, I decided only to do art. I think the world helped me discover art. Basically, I just want to share what's on my mind - its that simple. So, the world inspires me to create"
Available
551396
Justice Mukheli
Livhone (Light) , 2019
Photography
34.25 x 34.25 in.
87 x 87 cm
JM0001
$ 2,275.55 USD
Dyman Gallery
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
Available
551397
Justice Mukheli
Through Their Eyes, 2019
Photography
23⅝ x 34½ in.
60 x 87.5 cm
JM0002
$ 1,808.41 USD
Dyman Gallery
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
Available
553145
Justice Mukheli
Departure, 2019
Photography
35⅞ x 35⅞ in.
91 x 91 cm
JM0003
$ 2,233.90 USD
Dyman Gallery
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
Available
553147
Justice Mukheli
Surfer boy, Nigeria, 2019
Photography
23⅞ x 34½ in.
60.7 x 87.6 cm
JM0004
$ 1,824.65 USD
Dyman Gallery
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
In his work, Mukheli is interested in capturing children in their moment of quietness. This interest was born out of his own retrospection, having grown up in the township of Soweto, Johannesburg. He had several character defining moments as a young boy and was constantly faced with statements such as, “Do not cry, you are a man and men don’t cry!”, “Don’t be week”, “Fix your face”, “Why are you sad”. He created his works from a place of attempting to capture some of the feelings and emotions that he was told not to express. These images became an index of spaces of possibility. To Mukheli, there is a golden thread that runs through each subject’s captivating gaze, glowing skin and uninhibited interaction with his lens. This thread points towards an answer, a solution or a guide book. He feels that he can be vulnerable openly as a man with no shame, and through these subjects he is reclaiming the emotions that he had to hold in as a young boy who was stopped from crying, being sad, or vulnerable, because “Boys don’t cry”.
Available
553148
Mandlenkosi Mavengere
Izuka, 2019
Mixed Media
56¼ x 56¼ in.
143 x 143 cm
AD0004
$ 3,181.77 USD
Mixed Media on Canvas
Dyman Gallery
My artworks bring into conversation and discussion, the issues of migration in our contemporary society. I travelled from Zimbabwe to South Africa crossing borders, had my identity checked at immigrations, and I arrived to fit-in, in a multi-racial country. My banknote artworks( significantly etchings) are a framework within which one can observe the issues of migration with relevance to socio-economic divergence and convergence. The buses in my work are a catalyst to migration taking people to greener pastures hoped for by many. More-so, wildebeest is an animalistic character of a migrant . My portrait and landscape artworks are expressing the notion of a new homeland versus the home of origin and various identities.
Mandlenkosi Mavengere b. (1992) in Zimbabwe in Bulawayo (known as city of kings). Mavengere works predominantly in printing and painting. He moved to South Africa after completing his O’level (matric) in Zimbabwe. Thereafter it was in South Africa where he took up art as a career and got enrolled at Artist Proof Studio printmaking course where he completed his 3rd year. Along the printmaking course, his paintings began to be evident as he participated in a number of shows. Between 2013 - 2015 his work has been exhibited at Black Like Us Exhibition (Parkhurst) and Art Investment in Parkhurst. Mavengere exhibited at the Love-world Festival of Music and Arts held at the Nasrec Arena. His work also features in the 2015 IT-Web Calendar Brainstorm representing IBM. He has been in group exhibitions like Julie Miller Art Investments , Henry George Gallery, Turbine Art Fair, Absa Gallery, and Artist Proof Studio where he had his internship at the gallery. As an intern at Artist Proof Studio He curated an exhibition hosted by Strauss and Co. He was, thereafter recommended for a one year internship at William Kentridge Studio for the year 2017. His mentorship by William Kentridge has precisely developed his creativity skills from etchings, into sculpturing and linocut banknotes exploring themes consistent with his Migration Concept.
Dyman Gallery
My artworks bring into conversation and discussion, the issues of migration in our contemporary society. I travelled from Zimbabwe to South Africa crossing borders, had my identity checked at immigrations, and I arrived to fit-in, in a multi-racial country. My banknote artworks( significantly etchings) are a framework within which one can observe the issues of migration with relevance to socio-economic divergence and convergence. The buses in my work are a catalyst to migration taking people to greener pastures hoped for by many. More-so, wildebeest is an animalistic character of a migrant . My portrait and landscape artworks are expressing the notion of a new homeland versus the home of origin and various identities.
Mandlenkosi Mavengere b. (1992) in Zimbabwe in Bulawayo (known as city of kings). Mavengere works predominantly in printing and painting. He moved to South Africa after completing his O’level (matric) in Zimbabwe. Thereafter it was in South Africa where he took up art as a career and got enrolled at Artist Proof Studio printmaking course where he completed his 3rd year. Along the printmaking course, his paintings began to be evident as he participated in a number of shows. Between 2013 - 2015 his work has been exhibited at Black Like Us Exhibition (Parkhurst) and Art Investment in Parkhurst. Mavengere exhibited at the Love-world Festival of Music and Arts held at the Nasrec Arena. His work also features in the 2015 IT-Web Calendar Brainstorm representing IBM. He has been in group exhibitions like Julie Miller Art Investments , Henry George Gallery, Turbine Art Fair, Absa Gallery, and Artist Proof Studio where he had his internship at the gallery. As an intern at Artist Proof Studio He curated an exhibition hosted by Strauss and Co. He was, thereafter recommended for a one year internship at William Kentridge Studio for the year 2017. His mentorship by William Kentridge has precisely developed his creativity skills from etchings, into sculpturing and linocut banknotes exploring themes consistent with his Migration Concept.
Available
553150
Mandlenkosi Mavengere
Prevalance, 2019
Mixed Media
33⅛ x 29½ in.
84 x 75 cm
AD0005
$ 1,818.15 USD
Mixed Media on Canvas
Dyman Gallery
My artworks bring into conversation and discussion, the issues of migration in our contemporary society. I travelled from Zimbabwe to South Africa crossing borders, had my identity checked at immigrations, and I arrived to fit-in, in a multi-racial country. My banknote artworks( significantly etchings) are a framework within which one can observe the issues of migration with relevance to socio-economic divergence and convergence. The buses in my work are a catalyst to migration taking people to greener pastures hoped for by many. More-so, wildebeest is an animalistic character of a migrant . My portrait and landscape artworks are expressing the notion of a new homeland versus the home of origin and various identities. Mandlenkosi Mavengere b. (1992) in Zimbabwe in Bulawayo (known as city of kings). Mavengere works predominantly in printing and painting. He moved to South Africa after completing his O’level (matric) in Zimbabwe. Thereafter it was in South Africa where he took up art as a career and got enrolled at Artist Proof Studio printmaking course where he completed his 3rd year. Along the printmaking course, his paintings began to be evident as he participated in a number of shows. Between 2013 - 2015 his work has been exhibited at Black Like Us Exhibition (Parkhurst) and Art Investment in Parkhurst. Mavengere exhibited at the Love-world Festival of Music and Arts held at the Nasrec Arena. His work also features in the 2015 IT-Web Calendar Brainstorm representing IBM. He has been in group exhibitions like Julie Miller Art Investments , Henry George Gallery, Turbine Art Fair, Absa Gallery, and Artist Proof Studio where he had his internship at the gallery. As an intern at Artist Proof Studio He curated an exhibition hosted by Strauss and Co. He was, thereafter recommended for a one year internship at William Kentridge Studio for the year 2017. His mentorship by William Kentridge has precisely developed his creativity skills from etchings, into sculpturing and linocut banknotes exploring themes consistent with his Migration Concept.
Dyman Gallery
My artworks bring into conversation and discussion, the issues of migration in our contemporary society. I travelled from Zimbabwe to South Africa crossing borders, had my identity checked at immigrations, and I arrived to fit-in, in a multi-racial country. My banknote artworks( significantly etchings) are a framework within which one can observe the issues of migration with relevance to socio-economic divergence and convergence. The buses in my work are a catalyst to migration taking people to greener pastures hoped for by many. More-so, wildebeest is an animalistic character of a migrant . My portrait and landscape artworks are expressing the notion of a new homeland versus the home of origin and various identities. Mandlenkosi Mavengere b. (1992) in Zimbabwe in Bulawayo (known as city of kings). Mavengere works predominantly in printing and painting. He moved to South Africa after completing his O’level (matric) in Zimbabwe. Thereafter it was in South Africa where he took up art as a career and got enrolled at Artist Proof Studio printmaking course where he completed his 3rd year. Along the printmaking course, his paintings began to be evident as he participated in a number of shows. Between 2013 - 2015 his work has been exhibited at Black Like Us Exhibition (Parkhurst) and Art Investment in Parkhurst. Mavengere exhibited at the Love-world Festival of Music and Arts held at the Nasrec Arena. His work also features in the 2015 IT-Web Calendar Brainstorm representing IBM. He has been in group exhibitions like Julie Miller Art Investments , Henry George Gallery, Turbine Art Fair, Absa Gallery, and Artist Proof Studio where he had his internship at the gallery. As an intern at Artist Proof Studio He curated an exhibition hosted by Strauss and Co. He was, thereafter recommended for a one year internship at William Kentridge Studio for the year 2017. His mentorship by William Kentridge has precisely developed his creativity skills from etchings, into sculpturing and linocut banknotes exploring themes consistent with his Migration Concept.
Available
553151
Mandlenkosi Mavengere
Under Under Oath, 2019
Mixed Media
26 x 41 in.
66 x 104 cm
MM0003
$ 1,428.55 USD
Mixed Media on Canvas. Dyman Gallery My artworks bring into conversation and discussion, the issues of migration in our contemporary society. I travelled from Zimbabwe to South Africa crossing borders, had my identity checked at immigrations, and I arrived to fit-in, in a multi-racial country. My banknote artworks( significantly etchings) are a framework within which one can observe the issues of migration with relevance to socio-economic divergence and convergence. The buses in my work are a catalyst to migration taking people to greener pastures hoped for by many. More-so, wildebeest is an animalistic character of a migrant . My portrait and landscape artworks are expressing the notion of a new homeland versus the home of origin and various identities. Mandlenkosi Mavengere b. (1992) in Zimbabwe in Bulawayo (known as city of kings). Mavengere works predominantly in printing and painting. He moved to South Africa after completing his O’level (matric) in Zimbabwe. Thereafter it was in South Africa where he took up art as a career and got enrolled at Artist Proof Studio printmaking course where he completed his 3rd year. Along the printmaking course, his paintings began to be evident as he participated in a number of shows. Between 2013 - 2015 his work has been exhibited at Black Like Us Exhibition (Parkhurst) and Art Investment in Parkhurst. Mavengere exhibited at the Love-world Festival of Music and Arts held at the Nasrec Arena. His work also features in the 2015 IT-Web Calendar Brainstorm representing IBM. He has been in group exhibitions like Julie Miller Art Investments , Henry George Gallery, Turbine Art Fair, Absa Gallery, and Artist Proof Studio where he had his internship at the gallery. As an intern at Artist Proof Studio He curated an exhibition hosted by Strauss and Co. He was, thereafter recommended for a one year internship at William Kentridge Studio for the year 2017. His mentorship by William Kentridge has precisely developed his creativity skills from etchings, into sculpturing and linocut banknotes exploring themes consistent with his Migration Concept.
Available
553152
John Baloyi
Lititha 2, 2020
Photography
23⅜ x 33⅛ in.
59.4 x 84.1 cm
MM0004
$ 974.01 USD
35mm Film on Fabriano Rosapina paper 280gms
Dyman Gallery
Baloyi’s work as a photographer began in 2017 when he left his secular employment as an Automotive Electrician. He began by assisting a variety of photographers in order to familiarize himself with the industry. This led to his shooting commercial work for various brands and campaigns, although he struggled to fit in the commercial scene due to the fact that his work was always considered “too artsy”. After much introspection he made the conscious decision to be more intentional with his work and began shooting fine art photography. Being African, he wanted to document the unique experience of black people, portraying them as works of art. The prominent themes of his work are colourism within the black community, love and social identity as well as symbolic themes from an African perspective. The main goal or purpose of his work is to inspire an alternative perspective of people of colour as a whole and to present them as works of art.
Dyman Gallery
Baloyi’s work as a photographer began in 2017 when he left his secular employment as an Automotive Electrician. He began by assisting a variety of photographers in order to familiarize himself with the industry. This led to his shooting commercial work for various brands and campaigns, although he struggled to fit in the commercial scene due to the fact that his work was always considered “too artsy”. After much introspection he made the conscious decision to be more intentional with his work and began shooting fine art photography. Being African, he wanted to document the unique experience of black people, portraying them as works of art. The prominent themes of his work are colourism within the black community, love and social identity as well as symbolic themes from an African perspective. The main goal or purpose of his work is to inspire an alternative perspective of people of colour as a whole and to present them as works of art.
Available
553153
John Baloyi
Lititha 3, 2020
Photography
23⅜ x 33⅛ in.
59.4 x 84.1 cm
MM0005
$ 974.01 USD
35mm Film on Fabriano Rosapina on paper Dyman Gallery Baloyi’s work as a photographer began in 2017 when he left his secular employment as an Automotive Electrician. He began by assisting a variety of photographers in order to familiarise himself with the industry. This led to his shooting commercial work for various brands and campaigns, although he struggled to fit in the commercial scene due to the fact that his work was always considered “too artsy”. After much introspection he made the conscious decision to be more intentional with his work and began shooting fine art photography. Being African, he wanted to document the unique experience of black people, portraying them as works of art. The prominent themes of his work are colourism within the black community, love and social identity as well as symbolic themes from an African perspective. The main goal or purpose of his work is to inspire an alternative perspective of people of colour as a whole and to present them as works of art.
Available
553154
John Baloyi
Lititha 4, 2020
Photography
23⅜ x 33⅛ in.
59.4 x 84.1 cm
JB0003
$ 974.01 USD
35mm Film on Fabriano Rosapina paper 280gms
Dyman Gallery
Baloyi’s work as a photographer began in 2017 when he left his secular employment as an Automotive Electrician. He began by assisting a variety of photographers in order to familiarize himself with the industry. This led to his shooting commercial work for various brands and campaigns, although he struggled to fit in the commercial scene due to the fact that his work was always considered “too artsy”. After much introspection he made the conscious decision to be more intentional with his work and began shooting fine art photography. Being African, he wanted to document the unique experience of black people, portraying them as works of art. The prominent themes of his work are colourism within the black community, love and social identity as well as symbolic themes from an African perspective. The main goal or purpose of his work is to inspire an alternative perspective of people of colour as a whole and to present them as works of art.
Dyman Gallery
Baloyi’s work as a photographer began in 2017 when he left his secular employment as an Automotive Electrician. He began by assisting a variety of photographers in order to familiarize himself with the industry. This led to his shooting commercial work for various brands and campaigns, although he struggled to fit in the commercial scene due to the fact that his work was always considered “too artsy”. After much introspection he made the conscious decision to be more intentional with his work and began shooting fine art photography. Being African, he wanted to document the unique experience of black people, portraying them as works of art. The prominent themes of his work are colourism within the black community, love and social identity as well as symbolic themes from an African perspective. The main goal or purpose of his work is to inspire an alternative perspective of people of colour as a whole and to present them as works of art.
Available
553155
Mpho Mokgadi
After Work, 2019
Photography
26 x 26 in.
66 x 66 cm
MM0001
$ 1,461.02 USD
Photography, 1 of 7
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
Available
553156
Mpho Mokgadi
Corner Joubert street and Jeppe, 2019
Photography
26 x 26 in.
66 x 66 cm
MM0002
$ 1,461.02 USD
Photography, 1 of 7
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
Available
553157
Mpho Mokgadi
Man at the Lake, 2019
Photography
26 x 26 in.
66 x 66 cm
MMO0003.1
Photography, 1 of 7
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
Dyman Gallery
"I moved to Johannesburg to study photography at the Market Photo Workshop to develop my skills, when I arrived it was an overwhelming environment form me. I could hardly relate with the city in relations to Pretoria, I was filled with confusion, alienation and loneliness. Based on the experiences and encounters that I am facing in this 'new city' (Johannesburg), the project for a body of work/series that I have been forming speaks towards and unpacks the period I have been living alone in two cities. I am seeking to explore how detachment and alienation affects engagement or lack of engagement, with ones physical surroundings. Though as a photographer I have been fascinated as to how does this non-relation with a new space allows for creation or being able to interact with space in the hopes of producing an image. Each image/shot, starts to question how the feeling of detachment reveals an expression of emptiness within the outside world. My experience of Large Cities, through observation has led me to seeing a landscape of overloaded with competing commercialization of a space and disconnected information in relation to the people making use of the city as a place (lacking connection). In my photographs I try to find human emotional aspects in spaces that appear empty, through artificial light, form, composition and circumstances."
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