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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


  •  
    Sue Lipschitz

    We must go on searching

    Richard Scott, like Matisse before him, understands the importance of making colour itself serve as expression. It is the coloured surface that is important in all his work, in particular the brilliant Muizenberg Yacht Race. The painting is not ‘about’ the yacht race, but about the strong juxtaposition of tall bands of yellow, purple, orange, cerise and red verticals, combined together near a horizontal expanse of blue. The effect of this is controlled by pattern making, in which sharp black lines not only delineate shapes but serve – as in stained glass – to intensify the patches of colour they surround. There is economy even amid his most apparent luxury and the economy of effect in his paintings, at the same time, is sensuous and colourful. Richard’s work has probably been underestimated because of its apparent light-heartedness and charm. There is however nothing superficial in Richard’s continual search for ways towards great art. It is not a paradox, but part of Richard’s control of his effects, however brilliant in colour, that he should also have been brilliant at graphic design. Like Klee, Richard is able to create something that seems slight but which remains tenaciously vivid. He has the ability to control his design. The sheer inventiveness of the images and colour produces pictures that neither reproduce nor totally reject the outside world we see. It is the imagination that colours Richard’s images, products of an inner eye that sees much deeper than the ordinary one. Richard’s work puts back into art a topicality in which the public enjoys recognising commonplace images and things. It proclaims its freedom to be anything it likes. It keeps trying to be exciting and topical, thinking up new ways to astonish and amuse. Today we are much better placed to respond to art of our own period as well as to survey that of the past. Artists have encouraged the autonomy of the spectator to the point where we may each be our own artist. There is really no secret about appreciating art, except to have a belief that art – whatever it is – is essential to our lives and wellbeing.

    Taken from Richards Book 2005

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