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Peninsula 2009-10 medium: mixed media: chair, balloons, string, paper tags. Sculpture

Lynette Bester

South Africa

Sculpture, Mixed Media on Soft (Yarn, Cotton, Fabric)

Size: 31.5 W x 31.5 H x 31.5 D in

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About The Artwork

In September 2009, Bester and three other artists, Marie Snauwaert (Ghent, Belgium), Alicja Rogalska (London, UK/Poland) and Amelie Scalercio (Melbourne, Australia) participated in a six week event called This Weekend...? during which artist, as part of The National Trust and BOSarts Initiative, were asked to activate various sites along the Cornish Coastline, England, UK. The weekend of the 26, 27 September was allocated to us on the only peninsula in England, a small peninsula if compared to the Cape Peninsula in South Africa. For a period of two weeks we lived in the old mining pump house, converted to the most westerly house, the Brisons Veor, in all of England. Outside our windows the cliffs wrapped around a small cove called Priest’s Cove, and jutting out into the sea, a rock formation known as the Brisons, rises from the sea, apparently a huge Charles de Gaul lying on his back, stomach and nose pointing to the sky. Apart from this the landscape is uninterrupted except for a handful of houses, fisherman huts recessed into the slope, a slip way, five Miniature Highlanders (cows and bulls), low walls covered in blue berry bush bushes wild fig (originally from the South African West Coast), pathways carved by avid walkers through the low brush, and a mining chimney on the highest point of the peninsula. The peninsula lay like a open substrate before us each morning and the locals from the hamlet of St Just could be seen strolling around Priest’s Cove’s from miles away. Locals who we would come to know as individuals, and furthermore individuals who cherished and lived in their landscape and were once dependent either on the sea or the copper mine for their lively-hood. Every story which was told would eventually bring us back to the landscape, to Priest’s Cove, to the Brison’s. We initiated the Balloon Project during which over the weekend of 26, 27 September, the community was asked to write a message which ties them to the memory of and within the landscape of Priest’s Cove on a paper tag. The tag would then be attached to a biodegradable balloon and then tied by the individual to an appropriate place of their choice, with biodegradable string, thereby adding a topography of personal memory over the topography of this particular landscape. By the end of This Weekend...? the peninsula was dotted with brightly coloured balloons fluttering in the wind and brightly coloured anorak’s of visitors. Over 400 people participated in this event and many more came to walk around and read the tags or quietly ponder their own memories. After This Weekend..? 115 tags with or without balloons were recovered from the peninsula, packaged and posted to Cape Town South Africa. Peninsula , is a metaphor for the peninsula, in effect, a landscape study, in which remnants of This Weekend...? stages one last outpost to the memories of individuals whose memories and action activate landscape, place and time, until those too fade away.

Details & Dimensions

Sculpture:Mixed Media on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:31.5 W x 31.5 H x 31.5 D in

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Lynette Bester’s sculptures are made from everyday objects that are often crowd-sourced through online social media and word-of-mouth. This method of production allows for a degree of unpredictability in the final product and further informs the accumulative nature of the work. Lynette Bester has achieved critical attention and is an associate artist with Everard Read. She has exhibited actively in Cape Town, Johannesburg and abroad and has achieved notable attention for both local and international art competitions and residencies since completing a B.A. in F. A.1999, and an M.A. in F.A. (Cum Laude), 2002 both from University of Stellenbosch, South Africa. She has participated group exhibitions including YDESIRE at the Castle of Good Hope, Cape Town, 2003, AFETOS ROUBADOS, Goethe Institute, Brazil, 2005. With the Bell-Roberts Contemporary in Cape Town she participated in exhibitions which achieved critical press attention. Amongst these were GREENHOUSE 2007, PRINT '08 and BLACK AND WHITE in 2009. At the AVA, Cape Town, she similarly achieved critical press attention while participating, amongst others, in BALL SPORTS 2007, BARING 2008, SOCIAL PATTERN 2009, OWN GOAL 2010 and NATURAL SELECTION: 1991 - 2011. At Heidi Erdmann Contemporary in Cape Town Bester participated in MATTERS CONCEPTUAL in April and it's sequel CONCEPT MATTERS in August, 2010. In 2012 Bester exhibited in Johannesburg at the critically acclaimed project space at the Fordsburg Studio's: Bag Factory in SOUNDING OUT and most recently she has exhibited with Commune 1 and Everard Read Cape Town including a sculpture erected in the Mount Nelson Garden in affiliation with Everard Read Gallery for the summer of 2014-2015. Bester has had 4 solo exhibitions in Cape Town: WHOLES CUT OUT 2002, at The Cold Room, HEART: DIMENSIONS VARIABLE 2005 at Blank Projects; and STALKING THE FAMILIAR at the AVA, 2010, and Cathedral at CIRCA, Everard Read Cape Town in 2017 all for which she received positive critical review. In 2006 Bester was a double finalist for the SASOL NEW SIGNATURES and in 2007 she was selected as a Top Ten Finalist for the ABSA L'ATELIER 2007. Most recently Bester was a Finalist in the INTERNATIONAL CELESTE PRIZE and exhibited her work as part of the award ceremony at the Invisible Dog, New York, in November 2011.

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