Performance Piece Everard Read/Circa, Cape Town

Performance Piece Everard Read/Circa, Cape Town

 

As part of the Cubicle Series Exhibition at Everard Read / Circa Arabella Caccia painted a painting in performance with cellist Jessica Bailey. They spontaneously improvised responding to one another.  The performance was recorded on film and after 4 consecutive days, the performance concluded.

 

The painting remained on the wall of the Gallery at Everard Read for the duration of the exhibition and was then painted out. It was a performance to capture the creative process of two artists creating in response to each other. The art was the energy that was created between the two performers, in the moment in time. When the sound stopped and the painting was no longer being made the performance was over.  The painting was painted over with white paint.

 

The performance by Arabella Caccia and Jessica Bailey acknowledges the importance of the creative process itself and the energy that it generates which flows from it out into the world.

Into the Light / Circa / Everard Read Cape Town/ 14 -26 August 2017

Composition in Red and ultramarine
Milk paint on paper
158 x 316 cm 2016

Into the Light is an exhibition of Arabella’s recent work. It is inspired by an exploration of patterns found in the play of light and dark on natural forms. Her paintings and sculptures use an abstract language of semi-symbolic glyphs discovered in these patterns. The primary principal underpinning her work though is the belief in the importance of process.

 

Arabella will be doing a performance painting with cellist Jessica Bailey . In this public space they will give visitors to the gallery the experience of  sharing their creative process they engage in.

 

 

Jessica Bailey and Arabella Caccia will be performing 10.00 – 13.00 Tuesday 15th and Wednesday 16th August .
There after Arabella will be in the gallery from 10.00- 13.00 on weekdays.

 

 

 

One of Five Elements

Part of the Everard Read Franschhoek 2017 exhibition, this sculpture is one of the Five Elements (Fire, Air, Water, Earth and Wood).

One / Five Elements , Ultramarine and Bronze, 280 cm high 2017

The concept is that they stand together in a circle separated by enough space to walk between them. The sculpture was made from over 70 pieces of bronze, each piece a glyph derived from the abstracted shapes found in the patterns of nature.

Collage of Glyphs on paper in ultramarine blue each 13 x 19 cm 2017

Each piece was carved out of wax then gated and dipped in the ceramic dip before being cast in bronze.

Gated Wax Glyphs January 2017

 

Glyphs in ceramic ready to be cast in bronze April 2017

 

The glyphs are then finished off and assembled, welded and bent to form the final piece, through which light can move and shadows fall.

Bronze Glyphs mid April 2017

 

Welding Glyphs end April 2017

 

Welding Glyphs and Twisting and Bending end April 2017

The sculpture was then patinated using pure ultramarine pigment in a milk paint base.

Patina of Sculpture with Ultramarine Pigment April 2017

 

Transporting the piece to Franschhoek

 

One / Five Elements Everard Read Franschhoek 2017

Weathered Rock Formations, Nature’s Valley

Rock formations Nature’s Valley 2017

My fascination with patterns found in bark has extended to the kinds of patterns made by the erosion of rock formations . In April I visited Nature’s Valley where I took silicon moulds of some of the pitted and striated rocks on the edge of the sea between Nature’s Valley and the Salt River mouth.

Arabella, Natures Valley , taking moulds off rock formations 2017

 

Rock rubbing and paint on cotton, 2017

Silicon Moulds in Botswana

Chapman’s Baobab now collapsed

On the 16 th January 2016 the great Chapman’s Baobab tree fell down after commanding a majestic place on the edge of the Makgadikdadi Plains,  for some say as long as 2000 years.  I visited the tree in 2014 and  was devastated when I heard about it. I immidately suggested to Ralph Bousfield who had hosted me at Jacks Camp in 2014 that I would like to go back and make silicon moulds of some of the carvings that  people had made in the bark of the tree, including Livingston who is thought to have carved a cross on the trunk in 1852. I was able to return and I spent 3 days taking moulds from the tree and then went to visit Greens Tree which is also marked by a cross carved by Livingston and a inscription recording  Greens Expedition of 1858. The plan is to cast some of the inscriptions into bronze for the museum at Jack’s Camp.

Arabella and Rhu taking silicon moulds on Chapman’s baobab, Jack’s Camp Botswana February 2017
Livingstone’s Cross , Chapman’s Baobab, Botswana
Green’s Tree, The Pioneer Road, near Jacks Camp, Botswana.
Silicon mould of Livingston’s Cross, Green’s Tree, The Pioneer Road, Botswana.