JOHN MURRAY | Barred | | Everard Read London

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CATHY ABRAHAM, Alternate loves Indigo

oil on Italian cotton canvas, 144 x 100 cm

Cathy Abraham’s practice is deeply influenced by artists from the Korean Dansaekhwa movement, along with the repetitive incantations of artists such as Roman Opalka Abraham works systematically with repetitive gestures as a way of thinking through the patterns and experiences that mark our daily existence. The highly developed surfaces of her work consider boundaries between reality, fantasy and illusion. ‘I count brush marks as a form of meditation, allowing the mark of the brush to leave a visual trace as ghosts do. The “ghostings” are composed from an overlapping series of brushmarks. At first laden with paint the brush begins to make its mark yet through the sequence of strokes, its colour diminishes until there is only an unstable, fragmented residue. I cannot be sure what residues haunt and inspire me, as there are so many events I would like to forget, yet I remain aware of these experiences and their after-effects. By repeatedly drawing or painting the seemingly same mark, I am hoping to find expression for the inexpressible, bringing into existence that which is intangible yet felt.

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CATHY ABRAHAM, Tears of fire

oil on Italian cotton canvas, 144 x 100 cm

Cathy Abraham’s practice is deeply influenced by artists from the Korean Dansaekhwa movement, along with the repetitive incantations of artists such as Roman Opalka Abraham works systematically with repetitive gestures as a way of thinking through the patterns and experiences that mark our daily existence. The highly developed surfaces of her work consider boundaries between reality, fantasy and illusion. ‘I count brush marks as a form of meditation, allowing the mark of the brush to leave a visual trace as ghosts do. The “ghostings” are composed from an overlapping series of brushmarks. At first laden with paint the brush begins to make its mark yet through the sequence of strokes, its colour diminishes until there is only an unstable, fragmented residue. I cannot be sure what residues haunt and inspire me, as there are so many events I would like to forget, yet I remain aware of these experiences and their after-effects. By repeatedly drawing or painting the seemingly same mark, I am hoping to find expression for the inexpressible, bringing into existence that which is intangible yet felt.

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CATHY ABRAHAM, Purple bones II

oil on Italian cotton canvas, 144 x 100 cm

Cathy Abraham’s practice is deeply influenced by artists from the Korean Dansaekhwa movement, along with the repetitive incantations of artists such as Roman Opalka Abraham works systematically with repetitive gestures as a way of thinking through the patterns and experiences that mark our daily existence. The highly developed surfaces of her work consider boundaries between reality, fantasy and illusion. ‘I count brush marks as a form of meditation, allowing the mark of the brush to leave a visual trace as ghosts do. The “ghostings” are composed from an overlapping series of brushmarks. At first laden with paint the brush begins to make its mark yet through the sequence of strokes, its colour diminishes until there is only an unstable, fragmented residue. I cannot be sure what residues haunt and inspire me, as there are so many events I would like to forget, yet I remain aware of these experiences and their after-effects. By repeatedly drawing or painting the seemingly same mark, I am hoping to find expression for the inexpressible, bringing into existence that which is intangible yet felt.

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CATHY ABRAHAM, Ascending and descending earth

oil on Italian cotton canvas, 144 x 100 cm

Cathy Abraham’s practice is deeply influenced by artists from the Korean Dansaekhwa movement, along with the repetitive incantations of artists such as Roman Opalka Abraham works systematically with repetitive gestures as a way of thinking through the patterns and experiences that mark our daily existence. The highly developed surfaces of her work consider boundaries between reality, fantasy and illusion. ‘I count brush marks as a form of meditation, allowing the mark of the brush to leave a visual trace as ghosts do. The “ghostings” are composed from an overlapping series of brushmarks. At first laden with paint the brush begins to make its mark yet through the sequence of strokes, its colour diminishes until there is only an unstable, fragmented residue. I cannot be sure what residues haunt and inspire me, as there are so many events I would like to forget, yet I remain aware of these experiences and their after-effects. By repeatedly drawing or painting the seemingly same mark, I am hoping to find expression for the inexpressible, bringing into existence that which is intangible yet felt.

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PENELOPE STUTTERHEIME, Weaver II

Oil on canvas, 75 x 80 cm

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PENELOPE STUTTERHEIME, Weaver III

Oil on canvas, 80 x 80 cm

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TENIQUA CRAWFORD, Meditation

Bronze, 38 x 21 x 21 cm

Teniqua Crawford is a multidisciplinary artist. Her work explores the human condition and its ephemeral nature through the female form. Crawford’s paintings of the figure captured in natural light are an expression of our pure being and essence. Her contained, muted, fragments serve as poetic symbols of the human condition. Crawford paints and sculpts her subject from life while drawing from her inner world. Her creative process combines observation, memory, imagination and subconscious elements. Mark making resonates with her as an attempt to capture and give form to the ephemeral. She creates a sense of stillness, silence, and solitude in her works, drawn to these qualities as a pathway to the inner self. She has recently been creating abstracted figures in states of emergence that explore the interplay of presence and absence. Her exploration of the human form as landscape seeks to connect humanity to the natural world. Her connection to nature is inspired by growing up along South Africa’s wild mountain coastline. The prehistoric Middle stone-age caves in this area shaped her perspective of the nature of time and existence. Crawford recently exhibited during the 2024 Venice Biennale in major group exhibition Breasts. Her works are in private collections in America, Asia, Australia, England, Europe, the Middle East and South Africa. She received a Bachelor of Arts from Princeton University and a Master of Fine Arts from Harvard University at the American Repertory Theatre, and the Moscow Art Theatre Institute [MXAT].

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TENIQUA CRAWFORD, Horizon

Ink on paper, 19 x 14 cm

Teniqua Crawford is a multidisciplinary artist. Her work explores the human condition and its ephemeral nature through the female form. Crawford’s paintings of the figure captured in natural light are an expression of our pure being and essence. Her contained, muted, fragments serve as poetic symbols of the human condition. Crawford paints and sculpts her subject from life while drawing from her inner world. Her creative process combines observation, memory, imagination and subconscious elements. Mark making resonates with her as an attempt to capture and give form to the ephemeral. She creates a sense of stillness, silence, and solitude in her works, drawn to these qualities as a pathway to the inner self. She has recently been creating abstracted figures in states of emergence that explore the interplay of presence and absence. Her exploration of the human form as landscape seeks to connect humanity to the natural world. Her connection to nature is inspired by growing up along South Africa’s wild mountain coastline. The prehistoric Middle stone-age caves in this area shaped her perspective of the nature of time and existence. Crawford recently exhibited during the 2024 Venice Biennale in major group exhibition Breasts. Her works are in private collections in America, Asia, Australia, England, Europe, the Middle East and South Africa. She received a Bachelor of Arts from Princeton University and a Master of Fine Arts from Harvard University at the American Repertory Theatre, and the Moscow Art Theatre Institute [MXAT].

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BRETT CHARLES SEILER, Meg

engraving on painted wood, 30.5 x 29 cm

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BRETT CHARLES SEILER, Ryan on Chair

engraving on painted wood, 30.5 x 35 cm

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BRETT CHARLES SEILER, Nicholas Likes to Skate

engraving on painted wood, 30.5 x 26 cm

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BRETT CHARLES SEILER, Ryan Looks to the Side

engraving on painted wood, 57 x 30.5 cm

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BRETT CHARLES SEILER, Willem, Again

engraving on painted wood, 30.5 x 22.5 cm

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LEE-ANN HEATH, Tuuu-lips

Oil on canvas, 135 x 75 cm

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LEE-ANN HEATH, Hello Yellow

Oil on canvas, 110 x 150 cm

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LIONEL SMIT, Reversible

Oil on linen, 150 x 120 cm (59 x 47 1/8 in.)

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ANNE GRAAFF, Cedar Peak - Sounds of the Veld IV

ink and wash on 300 gram watercolour paper, 66.8 x 85.8 cm

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ANNE GRAAFF, Cedar Peak - Sounds of the Veld III

ink and wash on 300 gram watercolour paper, 66.5 x 86.1 cm

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ANNE GRAAFF, Cedar Peak - Sounds of the Veld II

ink and wash on 300 gram watercolour paper, 66.4 x 86 cm

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ANNE GRAAFF, Cedar Peak - Sounds of the Veld I

ink and wash on 300 gram watercolour paper, 66.3 x 86.1 cm

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GITHAN COOPOO, In Sorrow and Bliss

CLAY AND ACRYLIC, 53 x 37 x 15 cm

‘Clay is very human in its behaviour, and I like to highlight that in my work. Each sculpture I create feels like a placeholder for my own body, or a facet of myself. This is met with a love for mythology, ancient civilisations and the gifts they have left us in the form of social and cultural iconography. There is something special about objects that are lost and then found again in their disruption of our linear understanding of time. In a similar vein, mythology often allows for an easier transmission of queer ideas.’
Githan Coopoo is a self-taught jewellery designer and sculptor from Cape Town who works exclusively with clay as a base medium. Originally focused on volume, opulence and fragility, Coopoo’s clay jewellery has shown at Fashion Weeks internationally, including New York, Paris, Nigeria and Russia. He was AKO Foundation Assistant Curator of Costume at the Zeitz MOCAA in Cape Town. In 2022, Coopoo was recognised by the British Fashion Council in their New Wave: Creatives awards category. This category includes a list of the most innovative and inspiring young creative talents from around the world. Expanding upon his practice, recent years have seen Coopoo create larger-scale works, best described as false ceramics. ‘I produce these iconic forms – vases, handbags and tiles – out of air drying clay and acrylic paint,’ Coopoo explains. ‘Insinuating my sculptures into the accepted ceramic canon while enacting a falsehood is an innately queer act.’
The sculptural forms use text to communicate simple but pointed messages that span from sarcastic to intimate in timbre. Using humour to disable elitism and intellectual inaccessibility, Coopoo’s work is not afraid to wield popular notions of cultural exclusivity in the name of satire. He comments: ‘I work with words and clauses carved into the faces of my pieces because written languages diminish the conversational chasm between myself and my audience. They deepen the sense of relatability and familiarity, with the opportunity to also imbue wholly new meaning and identity to the work.’ As part of the inaugural exhibition for the Norval Foundation x Boschendal Manor House in Franschhoek, South Africa, Coopoo presented his first solo exhibition in 2021. Coopoo’s solo show with Everard Read Cape Town in 2022, explored luxury consumption in both art and fashion, while again being bolstered by base and colourful remarks teetering between the existential and tongue-and-cheek. Everard Read presented Coopoo’s work at the FNB Art Joburg fair in 2022. He began 2023 with a sold-out solo booth at the Investec Cape Town Art Fair, as well as two sold-out presentations, in Berlin with Galerie Eigen + Art Lab, and Everard Read in Johannesburg.

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GITHAN COOPOO, How do you live?

CLAY AND ACRYLIC, 55 x 49 x 15 cm

‘Clay is very human in its behaviour, and I like to highlight that in my work. Each sculpture I create feels like a placeholder for my own body, or a facet of myself. This is met with a love for mythology, ancient civilisations and the gifts they have left us in the form of social and cultural iconography. There is something special about objects that are lost and then found again in their disruption of our linear understanding of time. In a similar vein, mythology often allows for an easier transmission of queer ideas.’
Githan Coopoo is a self-taught jewellery designer and sculptor from Cape Town who works exclusively with clay as a base medium. Originally focused on volume, opulence and fragility, Coopoo’s clay jewellery has shown at Fashion Weeks internationally, including New York, Paris, Nigeria and Russia. He was AKO Foundation Assistant Curator of Costume at the Zeitz MOCAA in Cape Town. In 2022, Coopoo was recognised by the British Fashion Council in their New Wave: Creatives awards category. This category includes a list of the most innovative and inspiring young creative talents from around the world. Expanding upon his practice, recent years have seen Coopoo create larger-scale works, best described as false ceramics. ‘I produce these iconic forms – vases, handbags and tiles – out of air drying clay and acrylic paint,’ Coopoo explains. ‘Insinuating my sculptures into the accepted ceramic canon while enacting a falsehood is an innately queer act.’
The sculptural forms use text to communicate simple but pointed messages that span from sarcastic to intimate in timbre. Using humour to disable elitism and intellectual inaccessibility, Coopoo’s work is not afraid to wield popular notions of cultural exclusivity in the name of satire. He comments: ‘I work with words and clauses carved into the faces of my pieces because written languages diminish the conversational chasm between myself and my audience. They deepen the sense of relatability and familiarity, with the opportunity to also imbue wholly new meaning and identity to the work.’ As part of the inaugural exhibition for the Norval Foundation x Boschendal Manor House in Franschhoek, South Africa, Coopoo presented his first solo exhibition in 2021. Coopoo’s solo show with Everard Read Cape Town in 2022, explored luxury consumption in both art and fashion, while again being bolstered by base and colourful remarks teetering between the existential and tongue-and-cheek. Everard Read presented Coopoo’s work at the FNB Art Joburg fair in 2022. He began 2023 with a sold-out solo booth at the Investec Cape Town Art Fair, as well as two sold-out presentations, in Berlin with Galerie Eigen + Art Lab, and Everard Read in Johannesburg.

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FLORIAN WOZNIAK, Dreamer (small maquette)

Bronze, 17.5 x 11.5 x 9 cm

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FLORIAN WOZNIAK, Seated Woman

Bronze, 24 x 20 x 17 cm

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MATTHEW HINDLEY, Chapter One

Oil on canvas, 75 x 101 cm

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MATTHEW HINDLEY, The Unsaid

Oil on canvas, 91 x 91 cm

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MATTHEW HINDLEY, Death Closes All

oil and acrylic on Italian Cotton, 133 x 95 cm

DEBORAH BELL, SILENCE OF STONE front view

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DEBORAH BELL, Silence of Stone

Bronze, 54 x 15 x 13 cm

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JOHN MURRAY, Barred

Acrylic on canvas, 55 x 45 cm

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DANIEL NAUDÉ, Xhosa Nguni cow on the shore. Kiwane, Eastern Cape, South Africa, 5 April 2018

110 x 110 cm

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KILMANY-JO LIVERSAGE, FLORELL

acrylic, aerosol spray and marker on 300g Fabriano archival paper, 76 x 57 cm

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KILMANY-JO LIVERSAGE, LINGA

acrylic, aerosol spray and marker on canvas, 76.5 x 52 cm

ANGUS TAYLOR, Entangled Head: Layered
Bronze and various stone: Green Quartz, Bloodstone, Dolomite, Hematite, Belfast Granite and Grey Chert

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ANGUS TAYLOR, Entangled Head: Layered

Bronze and various stone: Green Quartz, Bloodstone, Dolomite, Hematite, Belfast Granite and Grey Chert, 67 x 31 x 19 cm

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ANGUS TAYLOR, Contextual Thinking

bronze and stone

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NIGEL MULLINS, Gay Pride, Sao Paulo

Oil on canvas, 120 x 180 cm

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CHRISTOPHER MARVELL, La vie en rose

Bronze on Oak, 67 x 20 x 26 cm

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EMALIE BINGHAM, Opening

Mixed media on canvas, 101.6 x 101.6 cm

Emalie Bingham trained as an artist and exhibited for ten years in South Africa before relocating to the UK in 2019. This exposed her to a widened variety of sociopolitical, psychospiritual, and design perspectives within a new environment, further shaping and expanding her creative practice. Playfully juxtaposing, layering, and collaging marks as repeating motifs, Emalie Bingham’s mixed media work explores endless possible outcomes, and considers a re-writing of normative attitudes towards grouping, orientation, and order. ‘My work is centred around emerging and shifting patterns of transformation, connection, and possibility. Both technically and conceptually, I seek to deconstruct and subvert binary paradigms, towards an alternative narrative of fluidity, possibility, and inclusion. I create, collect, dismantle, and redesign marks as symbols, developing a system of abstract signs through form, material, and process. This particular visual alphabet consists of offcuts, incidental strokes, and more intentional, repetitive explorations of personally significant objects. The compositions impose a kind of visual “dyslexia”, requiring imaginative readings beyond familiar patterning of “language”, and so what each mark represents may depend on interpretation. The emergent abstract designs pose questions and open dialogue around notions of framing, visibility, belonging, transition, chaos, deviance, and perception.’

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PHILIPPE UZAC, Gaia III

OIL AND GOLD LEAF ON CANVAS, 150 x 150 cm

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WILLIAM PEERS, Ilona ||

Portuguese Marble, 41 x 35 x 5 cm

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WILLIAM PEERS, Kerron

Tunisian black marble, 39 x 39 x 6 cm (15 1/4 x 15 1/4 x 2 1/4 in.)

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ANDRZEJ URBANSKI, A073 / 23 / 17 / 23

Acrylic and spray paint on canvas, 83 x 73 cm (32 5/8 x 28 5/8 in.)

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ANDRZEJ URBANSKI, A071 /25 / 22/ 23

Acrylic and spray paint on canvas, 83 x 73 cm (32 5/8 x 28 5/8 in.)

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ANDRZEJ URBANSKI, A054 / 170 / 96 /23

Acrylic and spray paint on canvas, 143 x 123 cm (56 1/4 x 48 3/8 in.)

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GUY DU TOIT, Stretching Hare

Bronze, 13 x 25 x 8 cm

‘Guy du Toit’s hares have a lightness of being – they dance, they fly, they sit pondering their thoughts. They are like quick sketches in the landscape, something glimpsed out the corner of the eye, like a flash of truth.’ – Wilma Cruise, artist

Du Toit uses a wide range of media in his sculptures, including bronze, stone, wood and steel, and draws in pen, ink and charcoal. He has exhibited extensively, both locally and internationally, and has been consistently supported by private and public collectors, institutions, academics and fellow artists. Du Toit’s apparent irreverence can obfuscate the fact that he is undoubtedly one of South Africa’s most accomplished sculptors. ‘Liberated’ (as he says) by the advent of democracy in South Africa from having to concern himself and his art with the notions of identity, he has happily turned his attention to ‘less provincial’ pursuits like revelling in form, concept and media for their own sakes. Under Du Toit’s deft manipulation, the hare has come to stand as a surrogate for our human existence, as well our relationship with the natural and social world, allowing us to smile at both it and ourselves. Du Toit’s hares move through their world – on foot, on wheels – with a sense of joyful aimlessness, ears blowing in the wind, arms waving in the air. Some are dancing, some have taken a moment to rest, considering their next destination.

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JANE EPPEL, Wherever I’m with you

copperplate etching (hardground), 68.5 x 68.5 cm

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JANE EPPEL, Sanctum

copperplate etching (hardground), 68.5 x 68.5 cm

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NICOLA BAILEY, This Dog Watched Beside a Bed

Bronze, 6.5 x 15 x 8 cm

‘My practice engages with ideas of interspecies relationships in the domestic environment, exploring the intimacy and tender nature of companion species and making visible our entangled existence.‘ – Nicola Bailey 2022
A multi-media interdisciplinary artist, Bailey began her art tuition at Ruth Prowse Art College in Cape Town South Africa. Since 2008 she has been part of an art collective founded by artists Rose Shakinovsky and Claire Gavronsky, collectively known as Rosenclaire which is based in both Italy and South Africa. Bailey’s first solo exhibition was held in 2014 at The Culture Gallery at Woodstock Exchange Cape Town, South Africa. In 2020 she held a solo presentation at Everard Read Gallery Cape Town, followed by a solo exhibition at Everard Read in Johannesburg. Selected group exhibitions include Domestic departures at the Forge in Cape Town in 2011, In Good Company at The Irma Stern Museum in Cape Town in 2013. Art/Out of the Ordinary at the Association of Visual Arts (AVA) in Cape Town. Conversations with Irma at The Irma Stern Museum in 2019 and Seeds of the Fig at he Krone Estate Twee Jonge Gezellen Farm in Tulbagh, South Africa. Living and working in Cape Town, Bailey’s artworks are represented in private collections in South Africa and around the world.

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NICOLA BAILEY, Thou Who Lovest Greatly (Mouse)

Bronze, 9 x 12.5 x 10.5 cm

‘My practice engages with ideas of interspecies relationships in the domestic environment, exploring the intimacy and tender nature of companion species and making visible our entangled existence.‘ – Nicola Bailey 2022
A multi-media interdisciplinary artist, Bailey began her art tuition at Ruth Prowse Art College in Cape Town South Africa. Since 2008 she has been part of an art collective founded by artists Rose Shakinovsky and Claire Gavronsky, collectively known as Rosenclaire which is based in both Italy and South Africa. Bailey’s first solo exhibition was held in 2014 at The Culture Gallery at Woodstock Exchange Cape Town, South Africa. In 2020 she held a solo presentation at Everard Read Gallery Cape Town, followed by a solo exhibition at Everard Read in Johannesburg. Selected group exhibitions include Domestic departures at the Forge in Cape Town in 2011, In Good Company at The Irma Stern Museum in Cape Town in 2013. Art/Out of the Ordinary at the Association of Visual Arts (AVA) in Cape Town. Conversations with Irma at The Irma Stern Museum in 2019 and Seeds of the Fig at he Krone Estate Twee Jonge Gezellen Farm in Tulbagh, South Africa. Living and working in Cape Town, Bailey’s artworks are represented in private collections in South Africa and around the world.