Tuesday, November 22, 2016

'Oracle' Group Exhibition, Salon Ninety One Gallery, 03 December 2016 - 21 January 2017



‘Blue Hour’
mixed media on canvas
580mm x 500mm
framed in ash
price available on request


‘Confessions’
mixed media on canvas
290mm x 250mm
framed in ash
price available on request


‘Go and See’
mixed media on canvas
520mm x 450mm
framed in ash
price available on request


‘Ships From Cyprus’
mixed media on canvas
1160mm x 1000mm
framed in ash
price available on request


‘Sons of the Prophet'
mixed media on canvas
1200mm x 1390mm
framed in ash
price available on request


‘They Rose at Twilight’
mixed media on canvas
1000mm x 860mm
framed in ash
price available on request


‘Windows in Heaven’
mixed media on canvas
420mm x 440mm
unframed
price available on request

Tuesday, October 4, 2016

‘Kindle’, A duo exhibition by Gideon Appah (Ghana) and Paul Senyol (South Africa) 06 October - 03 November 2016, Gallery2

‘Kindle is an exhibition of new works on canvas and linen. This shift in medium resonates with my new works as they become more intimately related to their texture and backgrounds. Kindle continues my exploration and thoughts relating to our relationship between the built and natural environments.

My works are influenced by the shapes, forms, color and textures found during my everyday encounters as I move through these environments. Kindle conjures up thoughts of beginnings, of origins, of seeking and finding, of stoking a fire and bringing something back to life.
There is a certain immediacy and urgency to my works for the exhibition. Each work serving as a snapshot, perhaps a sentence from a paragraph, or a chapter from a non-fiction, sometimes only one word can make all the difference.’ - Paul Senyol.

Gideon Appah and Paul Senyol first met at the 2015 Barclays L’Atelier competition, where both were top10 finalists.
Gideon’s work having won the prize for the best foreign entry and a residency stay at the Bag Factory in 2016.
From their first conversations, both artists realised a common influence, origin, and explorative themes to their work. This led to the idea of exhibiting together which has become a reality after Gideon recently completed his residency at the Bag Factory.
Both artists look forward to presenting a body of fresh, bold and exciting new works for Kindle.
The hope is that this will be the beginning of a relationship between them as painters which will continue to flourish in the years to come.
Gallery2 in association with Salon Ninety One proudly present ‘Kindle’


‘Bundle’
mixed media on Linen
375mm x 325mm
unframed
price available on request


‘Conversation’
mixed media on Linen
650mm x 750mm
unframed
price available on request


‘Conversion’
mixed media on Linen
750mm x 650mm
unframed
price available on request


‘Familiarity’
mixed media on Canvas
1300mm x 1500mm
unframed
price available on request


‘Fathoms’
mixed media on Canvas
1500mm x 1300mm
unframed
price available on request


‘Knee Deep’
mixed media on Linen
375mm x 325mm
unframed
price available on request


‘Passive’
mixed media on Linen
325mm x 375mm
unframed
price available on request


‘Umber’
mixed media on Linen
375mm x 325mm
unframed
price available on request

Wednesday, September 28, 2016

Inhabitant - Solo Exhibition, Salon Ninety One Gallery, 23.09.16 - 22.10.16

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To inhabit a space implies a type of ownership by presence. City bylaws and property deeds describe space in one way but that map frays at its intersection with the human occupation of place. Daily movements define and embrace space, carving it with the simultaneous care and ruthlessness of a sculptor.
The modernist trend is to present information in an ordered, chronological way – where meaning is imparted, not found. The shift to an artistic and narrative practice around providing immersive situations where viewers discover meaning for themselves has emerged as a counterpoint to that reportage trend. In Senyol’s work, this idea of immersive, experiential space provides a process of critical interrogation with the notion of inhabitation that is neither city bylaw nor street dweller, but somewhere between the two – a place where art is the patina of a lived experience.
The patina of Senyol’s experience of space is one characterised by transition. His home and studio in Woodstock is on the fringe of an urban renewal zone, a site characterized by places of collapse and repair. It is a space of binaries, of wealth and poverty, newness and decay, concrete and park verge. Senyol recognises that between these binaries resides a new creation altogether. This ‘fringe’ between states is his artistic Eden.
Works for inhabitant are more loosely based on Senyol’s daily sketches than in previous exhibitions. He has foregrounded his role as translator in this series, working across multiple canvases simultaneously in a process of experiential storytelling. He has also expanded beyond the canvas into the gallery space itself, evolving that experiential story telling onto textured gallery walls and the inclusion of small sculptures or urban cairns – a personal memorialising of the oft overlooked beauty of urban debris.
Senyol received no formal artistic training, but he has been studying art and the mark since his fascination with skateboarding magazines as a teenager in Cape Town. He is inspired by the Mission School Art Movement in San Francisco, the Woostercollective, Marc Gonzalez, Ed Templeton, Barry McGee, punk rock music, the way skateboarding & cycling enables him to access the city and books in the City Library. Graphics, album covers, magazine layouts and illustrations are an important influence to his aesthetic as is the work of Jean-Michel Basquiat, Andy Warhol, Cy Twombly, Henri Matisse and Joan Miró, respectively. His works celebrate the abstract moments of the image: formal qualities of line, form and hue from the basis of his compositions that evolve through the process of painting. Senyol began exhibiting “free art” on street corners in the early 2000s and this enabled him to connect directly with the street and its unexpected audiences. He may now exhibit almost exclusively within the gallery space, but this shift remains, for him, just another space to engage the viewer in a new way.

Monday, September 26, 2016

Inhabitant - Solo Exhibition, Salon Ninety One Gallery, 23.09.16 - 22.10.16

The sun bakes the concrete curb until it warps in a heat haze. In the shady cracks of the tar a persistent green leaf escapes the confines of the ground for light and life. The shimmer of a cracked windscreen creates light effects upon an unevenly painted backyard wall. Inexplicable rubble gathers on a street corner. The traces of its origins long lost: earthworks of a maze of activity defined by the movements of inhabitants.
To inhabit a space implies a type of ownership by presence. City bylaws and property deeds describe space in one way but that map frays at its intersection with the human occupation of place. Daily movements define and embrace space, carving it with the simultaneous care and ruthlessness of a sculptor.
Raymond Lucas in his chapter “Taking a Line for a Walk: Walking as an Aesthetic Practice” (2008) charts the historical citing of Benjamin’s flaneur as the start of a new set of artistic practices focusing on walking as a means of engaging space. He links this to a shift in the way we receive narrative today. The modernist trend is to present information in an ordered, chronological way – where meaning is imparted, not found (p170). The shift to an artistic and narrative practice around providing immersive situations where viewers discover meaning for themselves has emerged as a counterpoint to that reportage trend.
In Senyol’s work, this idea of immersive, experiential space provides a process of critical interrogation with the notion of inhabitation that is neither city bylaw nor street dweller, but somewhere between the two – a place where art is the patina of a lived experience.
The patina of Senyol’s experience of space is one characterised by transition. His home and studio in Woodstock is on the fringe of an urban renewal zone, a site characterized by places of collapse and repair. It is a space of binaries, of wealth and poverty, newness and decay, concrete and park verge. Senyol recognises that between these binaries resides a new creation altogether. This ‘fringe’ between states is his artistic Eden.
The idea of an inscriptive practice inspired by a passion for roaming seems appropriate here. Since the inception of the modern city and its architectural theory, there has been a criticism of its consideration of space in isolation from inhabitants. Contemporary urban theory does much to remedy this with works such as Iain Borden’s (2001) Skateboarding, Space and the City: Architecture and the Body in which the subcultural practice of skateboarding is heralded as a new lens through which to view the use and perception of urban landscapes. Senyol has since the start of his artistic practice, taken his interests in skateboarding, surfing and zines as the starting point for his investigation of space and place. His interest in reinvestigating public understandings of beauty and decay in the urban landscape has foregrounded the ‘fringe’ – a zone on the edge of something or between sites – as a creative site for a new conception of space. The strict management of space in urban environments because of larger systemic concerns of sanitation, access to services, over crowding and economic progress, has resulted in space being categorized too readily (in the nineteenth century ideological concern of ‘urban disease’) in order to facilitate improvement and order. Senyol quietly queries these well-meaning systemic notions and challenges the viewer to consider that a healthy city may have more to do with what conservative urban thinkers perceive of as decay and disease. For instance, Californian artist Barry McGee says that one can tell how healthy a city is by the number of tags on its streets.
For Senyol, its not how far one travels in the city but how fast one travels. At differing paces the texture, shape and form of the urban environment is revealed in new ways. A newly tarred road is a skateboarding heaven to a new speed of spatial experience, the textured remnants of a building excavation the inspiration for a linen canvas.
His works for inhabitant are more loosely based on his daily sketches than in previous exhibitions. He has foregrounded his role as translator in this series, working across multiple canvases simultaneously in a process of experiential storytelling. He has also expanded beyond the canvas into the gallery space itself, evolving that experiential story telling onto textured gallery walls and the inclusion of small sculptures or urban cairns – a personal memorialising of the oft overlooked beauty of urban debris.
In translating the street into the gallery space, Senyol approaches the gallery as a composition. The abstraction of daily life (car tyres on a curb) finds form in the graphic line of paint on stiffly primed linen and canvas. In their materiality his works remind us that these paintings remain as always ‘things in space’ but that they too, like us, by inhabiting the place they exist come to express something new.
References:
Borden, Iain. 2001. Skateboarding, Space and the City: Architecture and the Body. Berg: Oxford.
Lucas, Raymond. 2008. “Taking a Line for a Walk: Walking as an Aesthetic Practice” in Ingold and Vergunst (eds). 2008. Ways of Walking: Ethnography and Practice on Foot. Ashgate: England. p169 - 184


‘Small Boats’
mixed media on linen
255mm x 220mm
framed in ash


‘Silent Hill’
mixed media on canvas
725mm x 620mm
framed in ash


‘Willow’
mixed media on canvas
670mm x 620mm
framed in ash


‘Vessels’
mixed media on canvas
1420mm x 1225mm
framed in ash


‘Treasure House’
mixed media on linen
370mm x 420mm
framed in ash


‘Remote island’
mixed media on canvas
1780mm x 1680mm
framed in ash


‘Returning’
mixed media on canvas
1530mm x 1330mm
framed in ash


‘September’
mixed media on canvas
830mm x 720mm
framed in ash


‘Snow water’
mixed media on canvas
1730mm x 1935mm
framed in ash


‘Songbird’
mixed media on canvas
1630mm x 1405mm
framed in ash


‘Text Book’
mixed media on canvas
540mm x 470mm
framed in ash


‘The potter's House’
mixed media on canvas
1380mm x 1175mm
framed in ash


‘Quest’
mixed media on linen
320mm x 370mm
framed in ash


‘Pathways’
mixed media on canvas
1775mm x 1875mm
framed in ash


‘Highest Branch’
mixed media on linen
575mm x 490mm
framed in ash


‘Garden Terrace’
mixed media on canvas
570mm x 490mm
framed in ash


‘East Wind’
mixed media on canvas
820mm x 955mm
framed in ash


‘Dalton’
mixed media on linen
450mm x 390mm
framed in ash


‘Courageous Club’
mixed media on linen
370mm x 320mm
framed in ash

Wednesday, September 7, 2016

RVCA Paul Senyol Inspired By... Movement

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Myself and Conroy Esterhuizen recently produced a short teaser for RVCA's ANP 'Inspired By' series. Thanks to Hans Raubenheimer for working on the sound.
Salon Ninety One in association with RVCA will be hosting my solo exhibition, 'Inhabitant' later this month.
'Inhabitant' opens 28th September, 18h30 at Salon Ninety One Gallery, 91 Kloof street, Cape Town.

Wednesday, July 6, 2016

Turbine Art Fair - 2016



‘Habitation 2’
mixed media on canvas
320mm x 340mm
framed
price available on request


‘Provenance’
mixed media on linen
460mm x 530mm
framed
price available on request


‘Variation’
mixed media on linen
530mm x 460mm
framed
price available on request


‘Stream’
mixed media on linen
500mm x 420mm
framed
price available on request


‘Chambers’
mixed media on linen
1400mm x 1625mm
framed
price available on request


‘Crevasse’
mixed media on linen
810mm x 940mm
framed
price available on request


‘Farthest’
mixed media on linen
530mm x 460mm
framed
price available on request


‘Kindle’
mixed media on linen
500mm x 420mm
framed
price available on request


‘Midnight’
mixed media on linen
1200mm x 1400mm
framed
price available on request


‘Midst’
mixed media on linen
940mm x 810mm
framed
price available on request