Dianne Gall

21 03 2015

Dianne Gall. Her work has the look of cinema. Scenes from a story that is about to unravel in front of us. Except it doesn’t and we are left with that odd feeling of anticipation. And it is creepy.





Painting Bright Colors – Artist Exposé

21 03 2015

I just ran across this marvellous artist in the magazine Edge of Humanity Magazine.





And behold, they would not shut up…

21 03 2015

And behold, they would not shut up..by David Halliday





Anton Kannemeyer

21 03 2015

I’m not sure how comfortable I was with these pics. Satire is never comfortable. What Nannemeyer is pointing out so well is hypocrisy.

Anton Kannemeyer (born 30 October 1967 in Cape Town) is a South African comics artist, who sometimes goes by the pseudonym Joe Dog. Kannemeyer was also a senior lecturer at the University of Stellenbosch.

He studied graphic design and illustration at the University of Stellenbosch, and did a Master of Arts degree in illustration after graduating.[2] Together with Conrad Botes, he co-founded the magazine Bitterkomix in 1992 and has become revered for its subversive stance and dark humour.[3] He has been criticised for making use of “offensive, racist imagery”.[4] Kannemeyer himself said that he gets “lots of hate mail from white Afrikaners”.[1]

His works challenge the rigid image of Afrikaners promoted under Apartheid, and depict Afrikaners having nasty sex and mangling their Afrikaans.[5] “X is for Xenophobia”, part of his “Alphabet of Democracy”, depicts Ernesto Nhamwavane, a Mozambican immigrant who was burnt alive in Ramaphosa in 2008.[6] Some of Kannemeyer’s works deal with the issues of race relations and colonialism, by appropriating the style of Hergé’s comics, namely from Tintin in the Congo.[7][8] In “Pappa in Afrika”, Tintin becomes a white African, depicted either as a white liberal or as a racist white imperialist in Africa. In this stereotyped satire, the whites are superior, literate and civilised, and the blacks are savage and dumb.[9] In “Peekaboo”, a large acrylic work, the white African is jumping up in alarm as a black man figure pokes his head out of the jungle shouting an innocuous ‘peekaboo!’[10] A cartoon called “The Liberals” has been interpreted as an attack on white fear, bigotry and political correctness: a group of anonymous black people (who look like golliwogs) are about to rape a white lady, who calls her attackers “historically disadvantaged men”.





Vania Zouravliov

21 03 2015

You think Russian Icons. You think comic books. You think doodling. Vania Zouravliov’s work is hard to pin down. There is an undercurrent of violence in the work. Or suspicion. The next step to violence.





Arthur Berzinsh

21 03 2015

Arthur Berzinsh (born 1983) is a master’s graduate of the Latvian Academy of Art Department of Visual Communication, one of the most original to emerge from this department in recent times. The artist, who has actively participated in exhibitions for 10 years now, has forged the reputation of being a “refined hooligan”. And, quite so, his creative output-visually expressive and mannerly works – tends to trigger emotions which can make thoughts fidget and wriggle, unable to find a comfortable position among the impressions gathered.

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