Interested parties are invited to her lecture on the subject at 12pm, Saturday March 18. The exhibition will be opened by Senior Museologist, Yvonne Winters of the Campbell Collections, University of KwaZulu-Natal. Beadwork from the Midlands area includes the Swayimani of New Hanover, the Valley of 1000 Hills, Msinga, Vryheid, Escourt, Bergville, Njasuthi and Pongola. From the South Coast of KwaZulu-Natal, works from the Pondomisa, Umkomaas and Port Shepstone areas are represented. 'Amagugu VII' features a large collection of beadwork, wooden spoons, milkpails, headrests, imbenge and ceramics.īeadwork items have been sourced from previously unexplored areas including from the Ngxamanga Group of the Eastern Cape and from Xhesimbe Group from the Mount Ayliff area in KwaZulu-Natal as well as pieces from the Fengu, Pedi, Pondo and Xhosa in the Eastern Cape.
Numerous exhibitions have subsequently been held here, presenting collectors and art museums with the opportunity to purchase these valuable treasures. The 'Amagugu VII' exhibition stems from the 'African Dream' exhibition held at the African Art Centre in 1994, which featured artifacts including wooden Zulu headrests, pottery and beadwork. 'Amagugu VII - Treasures Exhibition' at the African Art Centre She also participated in 'Red Eye: Intersection' at Durban Art Gallery in October 2005.
#Art of illusion 3.02 series
She has participated in numerous group exhibitions over the past two years, including the 'Negotiate' series held at the Johannesburg Art Gallery in 2004. Lace lives and works in Johannesburg where she obtained her BA(FA) from the University of Witwatersrand in 2004. Her interest lies in the links between art and physics, both disciplines that use symbols to describe and explain the workings of the universe: the relationship between the artist's use of image and metaphor to the physicist's use of number and equation forms a basis for Lace's concepts. Lace's tools are scale and space, creating environments into which a viewer will be absorbed. The installation underpins Lace's interest in notions of beauty and the relationship between science and art. The result will be ordered, but appear chaotic. The space will be 'built' using nylon monofilament, allowing the viewer to physically negotiate the conceptual underpinning of Western Beauty. Working with the two dimensional schematic of this number, Lace will translate this into a complex three-dimensional environment, working with a physicist and engineer. The title of Bronwyn Lace's exhibition, '1.618' is the decimal representation of the 'golden ratio' - the irrational number which when applied to formal proportions, is deemed to have the most aesthetically pleasing qualities and which was well developed by the artists of the Renaissance.
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