Patrick Rulore (born 1995) is currently completing a National Diploma in Fine Art at the Tshwane University of Technology. After matriculating in 2013 he established an art business that produces customised portraits. In 2017, he was commissioned to paint a mural inside the Artem Mall in Sea Point, Cape Town. In 2017 and 2018 he was a finalist in the Sasol New Signatures Art Competition. Rulore has participated in several group exhibitions: India Delhi, Pretoria Penthouse, 2015; Stephen Weltz Art Auction house, 2016; Chris Tugwell Art Gallery, 2017; and Art Alive, Brooklyn Pretoria, 2017. He received a painting award at the Thami Mnyele Art Competition in 2018.
Stage 4 moments
Oil on canvas
101 cm x 122 cm
This oil on canvas rendering captures what has become a typical scene within many South African households during stage 4 load shedding, the most severe systematic rationing of electricity. The paradox of the unwelcome phenomenon of load shedding is that it has reignited person to person conversation and interaction in ways that unsettle the normalcy of human isolation, both within the family setup and society at large. Such isolation is induced by, amongst other influences, television, computers, cellphones and the internet. Stage 4 moments is a sensitive celebration of the rare and transient moments of sincere human connection that occur during those brief hours of darkness.
Luyanda Zindela (born 1991) is a visual artist who lives and works in Durban, South Africa. He completed a B-Tech Degree in Fine Art in 2012 and is currently a final year Master’s Degree student in Fine Art at the Durban University of Technology. Zindela has participated in various group exhibitions nationally.
Phowthah sis’ Mgabadeli
Pen, ink and graphite on pine board
111 cm x 132 cm
Phowthah sis’Mgabadeli explores the limitless possibilities of mediums so readily available that they are often taken for granted as viable artistic tools. In a country where quality visual arts education is not accorded to millions of learners, Zindela’s drawing demonstrates how ‘fine art’ can be produced using easily accessible and fairly affordable materials such as pen and pine board. By way of a portrait, Zindela captures the boundless intricacies of human skin by meticulously crosshatching and stippling the various layers of tissues and cells that constitute this important organ.
After After Party (Resurrection)
100 cm x 149,5 cm
This work explores the ‘femme’ poses of the stripper/sex worker as ‘sights’ of aesthetic invention. It is interested in what lies beyond the saleable, sensationalised, femme body. The cakes embody the notion of the female (and her sexuality) as being both desirable and edible. By reducing these literal yet allegorical cakes to ‘wastelands’ and ‘bodies of ruin’, the artist (as performer) creates an alluring dystopia that challenges the gender binary and the matrixes of value it reproduces within and beyond the art world.
Mixed media drawing on handmade paper
71 cm x 180 cm
Crucified zones into the murder scene of the artist’s father. Thematically, the triptych explores death, regeneration, and nostalgia through multidimensional image making techniques such as digital drawing, stitching, chine-collé, and pulp painting. The visual strategies and carefully selected images used in all three panels capture and simultaneously distort time. Time is not linear and the past is presented within the present in an eerie atmosphere. The handmade quality of the sisal paper and carefully stitched surfaces are significant imprints of the artist’s contemplative and meditative energy within this historical yet living narratology.
Dried roots from the Giant reed plant
220 cm x 200 cm x 150 cm
This installation of floating rhizomes has been deliberately assembled in the shape of a cone to mimic Henri Bergson’s model of the memory cone, which he coined to describe the voyage of becoming and the evolution of time. Botanical rhizomes, like human beings, sprout organically, persisting when cut off to create new pathways and networks of survival. Yet despite their resilience and just like people, these life forms also age, die, and wither to dust. This suspended sculpture spotlights the distinctive growth properties of the rhizome, which in turn is symbolic of the continuous changes and intensities in the lived experiences and resultant memories of humans.
Pot scrubs and wire and video
90 cm x 23 cm x 38 cm | 59 seconds
This wearable sculpture explores the artist’s personal trauma related to her encounter with gender based violence. The suspended mask has a performative aspect, wherein the audience is invited to insert their heads into the headdress for a momentary taste of the suffering the artist carries with her daily. By universalising her trauma, Moloto not only releases some of her own pent up sadness and depression, but also visually encrypts an aesthetic of pain into the steel wool form. Though cathartic in some respects, Disguise mask is a crown of trauma, which the artist adorns with mixed feelings of remorse and false pride.
Enlightened art gathering
120 cm x 49,5 cm x 36 cm
Enlightened art gathering is a multimedia installation anchored by three SAB Miller crates spray painted in gold and converted into a pseudo pulpit. Beer crates in general serve multiple functions within and beyond the beer drinking community. By repurposing these symbols of alcohol consumption into a pseudo pulpit, the crates become a metaphorical critique of the current hyper-commercialisation and blatant abuse of Christianity by predatory prophets and pastors. While the collection of sound and video clips that have been layered into the pulpit condemn these sham preachers, they simultaneously invite the viewer into the artwork by enabling them to take to the pulpit.
A special thank you to our judges.
Sasol and the Association of Arts would like to express their heartfelt gratitude to the Sasol New Signatures judges, both regionally and nationally, who give of their valuable time to evaluate and select the winners from the hundreds of entries received.
Thank you for your great contribution to the success of this magnificent exhibition.