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Midas and Me Collage

Lynette Bester

South Africa

Collage, Textile on Soft (Yarn, Cotton, Fabric)

Size: 38.6 W x 42.9 H x 1.2 D in

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About The Artwork

This project began in the spring of 2013 with about 700 silkworms that were placed on cardboard circles with a radius of 10 cm in an attempt to have the silkworms spin as many raw silk circles as possible. In the end a totally random amount of 58 raw silk circles were spun in various shades of golden yellow. From 2013 until September 2014, while the next generation of eggs waited for spring, I embroidered the circles onto a backing cloth in a grid format in reference to Damien Hirst's 'Spot Paintings'. Where Hirst employed assistants to paint his spots, I similarly employed the silkworms, free of the artist's touch. Incidentally the project, intrinsically dictated by nature, coincided with my own pregnancy, a pregnancy fraught with pain, medical complications and emotional turmoil making each circle a struggle and sometimes a punishment to embroider. In the spring of 2014 the hatching of the next batch of silkworms and the birth of my child happened within days of each other. Suddenly I had not just one baby but thousands of worms to feed. Six days after the birth of my son I was out picking mulberry leaves all over the suburbs from the trees in gardens of kind strangers who responded over Facebook to my desperate call to feed the increasingly ferocious worms. In 2014 the intention was to let the silkworms paint their own paths as they struggle to spin cocoons and pupate, a process in contrast to the defined circles of 2013. A stop-motion animation was also made over the two weeks the worms took to spin their web, to not only document the process but to capture the exaggerated futility of the exercise. In the stop-motion animation the silkworms run like maggots across the surface as their golden thread is spun, wasted even, in the production of art. 'Midas and Me' is a trace of effort, beautiful and futile at the same time. Midas, referenced a number of times by Damien Hirst in the titles of his 'Butterfly Paintings', is also referenced by myself here as a reminder that something which could be intrinsically beautiful and meaningful can also in a moment be fraught with adversity, futility, meaninglessness and even death.

Details & Dimensions

Collage:Textile on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:38.6 W x 42.9 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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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