| 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 |
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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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