Mariëtte Bergh

SOLO EXHIBITIONS:

Bare Your Bones

2012

Room

Johannesburg

 

Swindle

2010

Left

Johannesburg

(independently organized)

 

We Don’t Belong

2010

Left

Johannesburg

(independently organized)

 

 

GROUP EXHIBITIONS:

Gravity

2014

Salon 91

Cape Town

 

Lovely Creatures

2013

Culture Gallery

Cape Town

 

One In A Million

2013

Salon 91

Cape Town

 

I’d Rather Be Swimming

2012

Salon 91

Cape Town

 

Impression: Sunset

2012

Salon 91

Cape Town

 

Art Of Happiness

2012

Upstairs @ Bamboo Johannesburg

 

Life In A Picture

2010

Rust en Vrede Gallery Durbanville

 

Exposed

2010

Hout Bay Gallery

Cape Town

 

Ansisters

2005

Constitution Hill

Johannesburg

 

Schooled at The National School of the Arts and studied art direction at Vega School in Johannesburg, Bergh worked for a couple of years as a graphic designer and art director before enjoying having the rug pulled  from under her feet when she switched back to fine art. She relished this change as her free-fall independence.

 

 “Images start off as energy that gain shape through words.” Mariëtte Bergh is a quiet watcher, a voyeur of people in the mundanity of their everyday. The artist has only just relocated from Johannesburg to Cape Town. Her works interrogate the strange fiction of the day-to-day through imaginary characters and animal metaphors. Hers is the realm of the seeming incompatibility of opposing thoughts: routine and change, conformity and rebellion, something and nothing, mundane and mystery, image and text. Reverse-glass painting is Bergh’s favourite medium but she mixes this up with other materials such as oil and wood. Trained as a painter and designer, Bergh is fascinated by the potential of less conventional application as a tool in her art-making. Music, poetry and writing are big inspirations for her observations of humanity. In that somewhere space between the picture and the word is the energy that shapes her production." – Salon 91

 

A few OF MY OWN thoughts that inspire my work:

I've been fascinated with people since I can remember, and more recently also the interdependence between opposites. As a bit of a loner I enjoy observing quietly as if viewing a never-ending film. I interpret those observations rather than personal experiences.

   I look between the cracks of unmeaning, and there I find something that takes on a life of its own. Pure undefined energy, like a cluster of anarchic yet harmonious subatomic particles that are all too busy with Shiva's dance of destruction and creation. It is, for some more than others, a natural instinct to keep moving and changing – subconsciously doing whatever it takes to pursue this blind search even though there is no end result to the journey. I guess that our obsession is anything 'new', and all things new are constantly replaced by other new things.

   "Our rising bring no light; our sinking, no darkness. Endless the series of things without names." – Tao Te Ching, Lao Tzu

   In cities the pace is forever becoming faster and the chance to experience a state of silence has become a near-impossible luxury, and all we have are the tiniest cracks in between. Consequently the sublime is intertwined within the mundanity of existence and it seems useless to try and separate the two and one means nothing without the other. It is such a wonderful paradox and my fascination with the relationship between these elements is illustrated through this Taoist aphorism:

   'Umbrella, light, landscape, sky –

   There is no language of the holy.

   The sacred lies in the ordinary.'

Ordinary existence sway between dynamic movement and change, or, security within the confines of routine. We fear or embrace change as we either swarm about faceless within crowds; or scamper toward individual recognition, ironically, through means of homogeneous expression only to claim a social position within an existing identity. In other words, we emanate a mindset and swathe in specific attire that best suit a subcultural group we desire to belong to, often under the guise of being different, yet our desire to belong is too strong.

   To move toward change is a disparate concept and usually involves some form of isolation, but even though an individual believes he's the first, change is rarely pioneered by one at a given time. In different parts of the world, unaware of one another, similar individuals yearn for the same thing and so, unknowingly it becomes a collective pursuit. That is how we change and adapt in order to survive as a species. No matter how ordinary or unconventional we think we are, we form as one giant organism that continuously grows and moves in the same direction – different parts at different rates as every particle plays a different role.

   The conflict between structure and routine and creative rebellion is merely the different facets of this wonderful organism.

   That is the general premise for my work, human nature with its quirks, conflict and harmony that keeps us moving around like little magnets: routine and change; conformity and rebellion; quiet and clamour; something and nothing; mundane and mystery; soma and spirit.

   Yet I enjoy it when viewers make alternative connections with artworks as it becomes an active extension on the subject of the variables of humanity. It makes it all the more interesting and the piece serves as an interactive role with each interpretation. There's no denying that we each live in our own microcosmic realities, therefore it is inevitable that we contextualize accordingly.

work

An excerpt from Beautiful Losers by Leonard Cohen sums it all up simply and beautifully:

"All the disparates of the world, the different wings of the paradox, coin-faces of problem, petal-pulling questions, scissor-shaped conscience, all the polarities, things and their images and things which cast no shadow, and just the everyday explosions on a street, this face and that, a house and a toothache, explosions which merely have different letters in their names, my needle pierces it all and I myself, my greedy fantasies, everything which has existed and does exist, we are part of a necklace of incomparable beauty and unmeaning."

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