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Essays

2005

  • Andries Loots

  • Sue Lipschitz

  • Claire Breukel

  • Mark Gillman

  • Glynis Coetzee

  • Marco Garbero

  • Charl Bezhuidenhout

  • Joshua Rossouw

  • Vincent van Zon

  • Earle Parker

  • Sue Lipschitz Sculpture


    2007

  • Gus Silber

  • Charl Bezhuidenhout

  • Craig Mark

  • Georgia Schoeman

  • Sue Lipschitz


    2008

  • Gavin Rain

  • Riaan Vosloo


    2009

  • Angelo Pauletti


    2013

  • Gus Silber

  • Andy Reid

  • Brigitte Williers

  • Vincent van Zon


  •  
    Charl Bezuidenhout

    And so our relationship started

    Richard Scott walked into my office one day and introduced himself as an artist who lives in L’Agulhas. A conversation about the arts and marketing followed and soon we were enthusiastically sharing our secrets and the lessons we have learnt. We both understood that the world, in its enormity, is in reality a very small place, and that much could be achieved by taking advantage of untraditional tools at our disposal.

    What excited me even more was Richard’s art – pieces not bound by time or place. Here we have an artist who uses white as a colour, thick black lines and bold colours to create images that are timeless, powerful and emotional. Most striking was that these seemingly simple images awoke complicated thoughts and emotions. When looking at his work a private bond between me and the painting immediately settled. It was not necessary that I know him or his world to see my world on his canvases.

    The next morning I received a characteristically straightforward e-mail that read, ‘though I’m not that impressed by the art in the gallery, I’m impressed with your attitude’. And so our relationship started.

    In the months that followed, I learnt that Richard has an almost impossible-to-satisfy desire to explore and to experiment, always using his art as a vehicle to learn and understand. He is prolific because he loves creating and acts on his creative impulses at every possible opportunity. He can’t help it. He is addicted to those canvases he smothers with paint, enthusiasm and talent. In the process he is making a huge contribution to the arts on both an aesthetic and a practical level, and it always starts with a simple black line.

    Taken from Richards Book 2005

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