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MARGOT HATTINGH
 


I developed a passion for drawing and painting at an early age, and while still very young decided that I wanted to become an artist. I have had some formal training, but am mostly self-taught.

In my early 20's, instead of the planned move to Paris to further my art studies, I went on a safari and fell totally in love with the bush. An enduring fascination and passion for Africa, both as an idea as well as a place, was born.

For the next 12 years, my partner and I permanently lived and traveled in the wild places of Southern Africa and what was then SWA. We photographed and wrote articles on wildlife as well as two books, 'Etosha´ and 'Zululand' published by Struik in the early 80's.

Motherhood and a move to the Cape has expanded and deepened my perception and understanding of the underlying, mostly sub-conscious connection between humans and what we like to think of as ‘our’ world.

In the same way that there is a heartbeats’ space between action and reaction, there is a gap – sometimes a chasm – between us and everything in our environment. In there, I believe we imbue people, animals, places and things with our ‘shadow selves’. This is where I find my work.

On the surface the artworks may seem to range from highly realistic/figurative to abstract, but beneath that, they are all concerned with recording my explorations of an ever changing perception of reality – physical, emotional, mental, spiritual and of course mythical.

Profoundly rooted in Africa but with an inevitable overlay of European culture and history I strive to develop a new reality where the two supposedly opposing cultures come together in a synthesis greater and more beautiful than the sum of its parts.
I paint people and places, but return time and time again to what I call “Beasts” obsessed/possessed by certain animals and themes. I try to not only capture some physical likeness, some sense of ‘Presence’ but also to materialise the essentially invisible essence of the particular subject.

Technically the images are worked with a variety of media – sometimes singly, more often mixed on paper, masonite, wood, canvas or perspex. I use pastels, both oil and chalk, watercolour, acrylic, oils, resin and wax encaustic.

I enjoy printmaking, etching, collograph and monotype printing, as well as bronze sculpture, both relatively new directions for me. I continue to photograph subjects that interest me, including an ongoing project on dance, capturing movement and feeling rather than just the pose.

I am currently exploring ways to incorporate my own wildlife photographic images with painting and drawing, as well as expanding my techniques in wax encaustic.

By Margot Hattingh

CV:
1981
“Etosha” Life and Death on an African Plain (photographs and writing) – published by Struik S.A.and Collins, London

1983
“ Zululand ” an African Heritage (photographs and writing) – published by Struik S.A. and Collins, London

1996
Postcards from South Africa Exhibition– Axis Gallery , New York

1998
Christie's - London Wildlife Art Exhibition and Auction

2000
“Piecing Together the Past” short stories – District 6 Museum publication

2002
Innovative Threads Exhibition, Cape Town and France – Fibre Art

SA Society of Artists Exhibition

2003
Vuleka Exhibition

SA Society of Artists Exhibition

Wildlife Exhibition – Cape Gallery

2004
Cape Gallery Exhibition – (2 person)

SA Society of Artists Exhibition

Kirstenbosch Botanical Gardens

Wildlife Exhibition – Cape Gallery

Vuleka Exhibition

Curator - group exhibition – The Muiz Art Studio

Residency – Nek Chand Sculpture Garden , Chandigarh , India

2004 – 2005
“Strangers” Invitational International Printmaking exhibition , Canada , USA , New

Zealand

2005
Spearhead Exhibition (2 person)

“Absolut Magic” Exhibition - Association of Visual Arts

Kirstenbosch Botanical Gardens

South African Society of Artists Exhibition

Wildlife Exhibition, Cape Gallery

2006
Innovative Threads Exhibition, Cape Town

Innovative Threads : A decade of Fibre Art - book by Liza Gillespie

Positive Exhibition – Sun City

“Art out of Dance” Group Exhibition – Cape Town and Franschoek

“Absolut Secret” Exhibition - Association of Visual Arts

Wildlife Exhibition – Cape Gallery

Kirstenbosch Botanical Gardens

“Magic Tales” Solo Exhibition - The Baxter Gallery

2007
6th International Engraving Biennale of Ile de France, Paris

Invited artist, Fibreworks ‘10' Exhibition – X Cape Festival

Kirstenbosch Botanical Gardens

“& Beyond Encryption” Exhibition - Cape Gallery

Ran a printmaking workshop – Kilkenny , Ireland

Exhibition – Kilkinney Annual Arts Festival - Ireland

Solo Exhibition – Masque Theatre Winter Festival

Group Wildlife Exhibition – Cape Gallery

Curator/manager – Masque Theatre ARTreach

2008
Kirstenbosch Botanical Gardens group exhibition

Gunjifa – international printmaking project, co-ordinated bv Chhaap Printmaking Workshop, Vadadora , India

MARGOT HATTINGH
view image larger
Artist: MARGOT HATTINGH
Title: Time Flies
Media: Mixed media on perspex
Size: 54 x 60 cm
Price: R 8 200 framed
SOLD

WAX ENCAUSTIC FAQ’s

What is wax encaustic?
It is a mixture of pigmented waxes (NOT candlewax) and resins, which are painted with while molten. Each layer is fused to the preceding one using a blow torch, heat gun or heat lamp.

Is it a new medium?|
No, it’s a very ancient one. Exquisite funerary portraits were painted on mummy cases in Fayum, Egypt from 200BC. Famous contemporary artists who use it include Diego Riviera, Jasper Johns and Tony Scherman.

Will it melt?
Not under normal circumstances. The waxes used have a melting temperature of over 65 Deg C. If it melts in your house, you’ve got a bigger problem, it means your house is on fire! Exhibiting it behind glass in the direct sun is not a good idea, but no artwork of any medium should be exposed to that. Leaving it in the boot of a car parked in the sun on a hot day for a couple of hours will also do damage. Prolonged exposure to extreme cold, i.e. below freezing, is also not good.

Treated with the reasonable care for any other artwork, wax encaustic may well outlast oil or even acrylic. The Fayum portraits are as vibrant today as they were over 2 000 years ago, with none of the cracking that oils are prone to.

Wax encaustic paintings are also impervious to damp, even when used on paper, so are far more robust than watercolours.

How do I look after a wax encaustic painting?
Be careful not to scratch the surface, and perhaps buff gently once a year with a silk scarf.



 

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