Sekoto was self-taught, he didn’t go to school like people today. And an interesting thing about him; he was born in 1913, in the same year that the Land Act was passed in South Africa. It’s fascinating to see how he interacted with that time, growing up in that era in South Africa.
Inspired by organizations like CIVA, artway.eu, Morphe Arts and The Rabbit Room, South African artists have realised the need for a place where artists can think deeply and come together and dialogue about faith.
Seeking for ‘mentors in hope’ in the troubling times in South Africa and abroad made me reflect on some of the ways Chagall seems to brave despair.
The dinner spectacle John describes for us in his gospel, even though remote, still manages to offend us (though not as much as the original guests), but, we’re not quite sure how—or, why, we are offended. We can determine this however, that the story gives us a picture of extravagant devotion.
Hoping to offer a Christian perspective on the growing discourse within African Contemporary art, the ‘Unleavened’ exhibition was imagined as a place of restoration but also of provocation. The theme Leaven provided a metaphor “through which to view the work of young artists as they explore the presence and impact of culture, gender, politics and religion in their lives today”.
Voicing Creation’s Praise (1991) is a highly detailed and staccato piece of writing, a bit like a Beethoven Scherzo. Jeremy Begbie is known for his writing and lecturing in theology and the arts and is a professor at the Duke University Divinity School. He also studied music and is an accomplished musician.
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