Sunman Release ‘Left Here for Dead’

SunMan was formed in Zac, Luca and Claus’s last year of high school. Completely by chance and almost accidentally, one day they found themselves in the same room and realised that they all shared a passion for music: Zac for blues and jazz, Claus for techno and deep house and Luca for classical music. The trio encourages a fresh perspective on popular music but remains tight and commercial. They seek to entertain and create a deeply emotional experience for their listeners.

As Cape Town embraces modern culture and grows into a metropolis; its art and fashion are beginning to evolve. SunMan embodies a digital flavour that is taking the city by storm, balancing classic guitar rock with sparkly synths and electronic texture. The three-piece are both exciting and nostalgic as they imagine more than just music, but an entirely novel sonic and visual aesthetic.

‘Left Here For Dead’ or “LHFD” is a search for direction. Anguished and desirous vocals are slowly enveloped in melancholy guitar melodies as the singer confronts his loneliness in the verse. The verse then unfolds into a dramatic, swelling chorus of thick and crunchy guitar chords and imploring vocals. The singer escapes abandonment for an instant, only to be engulfed once again in the aimless and shifting soundscape of the verse. ‘Left Here for Dead’ embodies the most fundamental human choice, a choice between despair and hope.

Listen to ‘Left Here for Dead’ on:

Spotify

Apple Music

Deezer

Youtube

Colours of My Body with Lea Colombo

Although Lea Colombo remains unconfined by any point on this vast planet, it was the return to her birthplace in Cape Town that served as the rooting and arising of the revealing of her inner-most Self in both tenderness and vulnerability – through many dynamic channels as an artist. Her debut show, Colours of My Body, exhibited at Spaceby in Cape Town and Terminal27 in Los Angeles, as a ceremonial walk-through through of Lea’s most sacred essence; the anima that she has always imbued within her photographic work, yet amplified in this context with the reverberating signature of her spirit’s intention. The show acted as a device for communicating so many awakenings; as though the last decade of Lea’s venture across the globe, both personally and professionally, was a cosmically-orchestrated path of collecting aspects of her Self – and thus a ritual was required to consecrate this journey, as with any cycle, in order to share this state with other beings in two cities that reside as reflective points in Lea’s life. In as many ways as Lea’s show was for herself, by the very nature of our collective unity, it cast an incredible light for the possibilities of expanding on all the dimensions of expression that can be realized by creators if we only allowed ourself the spaciousness to go deep enough to undertake the excavation required. I note this specifically for her sculptural work; having seen process updates via Lea’s IG stories, in which Lea gave insight into polishing huge pieces of mineral Jasper – with complex colour and luster of the ochre Earth. This is an astounding entry into the art-space; while also a gentle reminder that we are never separated from our creative expression – in any life, across any age. We are just asked to return every now and again. 

There are no limitations as Lea explicitly states in this conversation – and would never impose any on herself again; a beautiful anecdote to relay the 77 works of art spanning across Colours of My Body.

Congratulations on a truly exceptional show – Colours of my Body. I find it so beautiful how, after nearly a decade as a photographer, you have turned the figurative and literal lens upon yourself; casting yourself as the muse, and the subject of exploration. How did that process arise?

The ‘shift’ had been imminent for a while. So when I started to let my guard down and trust in the process which was unfolding – to go deeper, to express myself in new ways whilst peeling back any previous layers of vulnerability I jumped at the opportunity. It felt incredibly natural and liberating. To move my body in front of the lens in a totally new explorative way. This new space which unfolded offered a ‘safe space’ where I was able to process any previous fears/ self-doubts/ criticism. I had intuitively created a mirror to presence – a real reflection and introspection of self.

Your relationship with colour, across many bodies of work throughout the years, is so tangible – possessing an almost energetic charge that comes through your work. How does colour inform your practice?

I harness colour and colour therapy, with its connection to emotion and impact on the mind, body and soul in all my work. My intuitive understanding of colour has enabled me to be guided by it – always tapping into its energies and forcing myself and all those that interact with my work to see it, to feel it. I am fascinated in the gravitational pull of colour and how this influences every souls interaction with it. Take the Yellow Room from Colours of My Body. For some, this room offered a sense of calmness, inviting one to give way to the yellow carpet. To lounge on it, and take a moment to breathe. Yet, for others the overwhelming ‘yellowing’ effect combined with the strong energy vibrations from the Shiva Lingam Sculptures left some feeling invigorated and rejuvenated in the sacral chakra. There is so much that can be told and felt with the use of colour.

You were in Cape Town recently. I think your career has really led the way for many young creatives in South Africa to dream big and better than we were ever allowed to. How was it to be home, while having such a global presence across the planet? I have heard that Table Mountain is the Earth’s root chakra – do you find it calming and centring to be down here?

The time spent in Cape Town leading up to the show was the longest I had been in the city since leaving after school. Using Cape Town as my base and home to my first inaugural solo show seemed only fitting and paid homage to my South African roots, which have spread across the globe during the last decade. Grounding myself in nature has always provided me with the moments of clarity I need during my creative process. A cold water morning swim, a hike to watch the sun set – Cape Town provides such moments in excess. Returning ‘home’ also offered a space where I could tap into colour from an array of new mediums – especially stone (Red Jasper, Sodalite, Golden Calcite) and the chance to interact with new souls who significantly influenced the creative outcome. My ties to the city have always provided a sense of grounding, and in hindsight I needed the calmness Cape Town provided and distinct boundary it drew between my commercial work and my new venture into the art scene in order for Colours of My Body to manifest in the way it did.

Fashion, as we experience it, has always intersected across art, music and culture – but it seems like this is happening in an accelerated way, with people working across these fields, creating a synergistic relationship. What is your vision for the next chapter in your work, transcending modular concepts like “industries”?

I never want to set myself any limitations. My creative mind sees colour and energies and the more I allow them to guide the more space I’ll create to access further places and continue sharing my vision. Stepping into a space of expansion, and allowing any spaces to open.

Lastly, do you have any guidance that you could share with other aspiring artists + creatives in South Africa?

We are capable of so much more than we give ourselves credit for. Trust in the process and remain present. The universe will take care of the rest.

Written by: Holly Bell Beaton

Eight Eyes & The Sun

CONNECT EVERYTHING COLLECTIVE MEDIA PRESENTS: EIGHT EYES & THE SUN

A FILM BY MANNERS STUDIO IN COLLABORATION WITH FLOAT APPAREL.

 

Newly launched media platform Connect Everything Collective is a home for celebrating the burgeoning creativity that exists across South Africa. Their deep passion for the eclectic array of musicians, artists, designers, directors and more forms the core of their endeavour to showcase this immense talent through collaborative visuals and thoughtful writing, ever-mindful of the power inherent in highlighting & promoting the brilliant minds that weave together the tapestry of the artistic & creative communities in South Africa.

To celebrate their launch, Connect Everything Collective is thrilled to present their first time producing a fashion film; Eight Eyes & The Sun – born through chance-meetings, as an ode to connection and collaboration as the remedy for the future. 

“Eight Eyes & The Sun” distils the essence of Float Apparel’s latest capsule collection through a whirlwind short story of bliss and friendship, unfolding before our eyes against the sublime backdrop of the east-coast in South Africa – held in place by the ocean and the sun as the two defining principles for Float Apparel’s commitment to sharing the spirit of their brand. This film signifies the playfulness of spontaneity; kaleidoscopic movements & a reverence for Nature underpin the transition of frame to frame, conceptualized and filmed by Manners Studio, with reference for childhood memories and the possibility of regaining such unbridled joy and curiosity in adulthood.

The capsule collection worn by the characters of Eight Eyes & The Sun is Float Apparel’s foray into drawing from their deadstock archive, re-invigorating pieces and silhouettes from seasons’ past – challenging the pursuit of novelty in order to take risks with vivid hues, prints and summer knits that tie together the functionality that their brand is so known and loved for. 

This is a coming together & collaboration between friends whose memories together are etched in the sands across the South African coastlines; a taste of the freedom that is possible when creative minds forge a shared vision. 

Join us in seeking adventure & magic. 

Shop the collection at floatapparel.co.za

WATCH

CREDITS ///

Produced By Connect Everything Collective – @_cecza @candice__e__
For Float Apparel@float_apparel
A film by Manners Studio@mannersstudio @kentandreasen @gourmetspaghettiboy
DOP- Roberto Colombo – @robocolo
Stills – @kentandreasen
Styling & Apparel – @float_apparel @keeganforeman @matteoviotti @realeels
Props – Marli Grobbelaar @marligrobbelaar
Models
Tao Havenga – @taohavenga
Snethemba Mitchell Ngcobo – @michelleclothier
Chenai Gwandure – @chegnar
Katarina Staines – @katarinastaines
Master- Field Audio – @field.audio
Poem- Ané Strydom – @ane_strydom
Voiced By – Trinidad Mora’n-Fajardo – @trinily
Thanks to the Viotti Family and Nic Schooling
Colorist – Brendon Groenewald @brendon_groenewald

Scumboy

Recently, I have found myself contemplating the rapid onset of the singularity. Ironically so, the very nature of this hypothetical nexus in which technology merges indecipherably with material reality, is such that once we reach it – if we haven’t, already – it would be rather difficult to determine or pinpoint its occurrence. Technically speaking, this term “singularity” refers to the uncontrollable influence that Artificial Intelligence might have on human existence – and such, the fabric of our reality. This notion has always stirred a sense of anguish in me; mostly because my knowledge of the digital realm is hugely limited, and therefore even wrapping my head around the implications of this “event” (or rather, consecutive events) feels poorly analyzed. Our global society already courts an indistinguishable and co-dependent relationship with modern technology, and it seems ridiculous to assume we might ever revert back to anything less than continual modification. Coupled with this, is the rather strange “nostalgia” many of us seem to fawn over antiquity with – “simpler times” and other such phrases get thrown around, in reference to ages in which we experienced perpetual disease and discomfort – and yes, that is a reductive take to say the least – but the point I am attempting to coax is this;

I really do not know enough to hold an informed opinion, and while Zuckerberg’s eerily embarrassing Meta rebranding does make me squirm, speaking to someone like 3D artist and motion graphic designer Oliver Hunter Pohorille (AKA Scumboy) – leaves me intrigued and hopeful for the future of digital mediums in which to relay story-telling and art. 

Oliver’s work makes a stunning case for the possibilities of digital rendered landscapes. His acid-colour caricatures cut a beautiful aesthetic, which you will recognize from his IG presence (@scumboy.69) in which there seems to be a continual re-imagining of the human form, along with kaleidoscopic spaces in which these figures exist. This is the type of meta-verse I am into – it’s interesting, and if we are abandoning material reality, why would we go with Zuck’s corporate vitriol?

To merge the etheric with the disturbing, and deliver it through a framework as technically challenging as 3D animation is startling. Recently, Oliver’s was approached by legendary Spanish luxury brand – Paco Rabanne – as part of the launch of their latest fragrance “Phantom”. Before I elucidate the crazy-cutting-edge nature of this release, noting this collaboration is rather symbolic. Paco Rabanne was MILES ahead of his contemporaries in the 1960s – while Karl Lagerfeld was making waves at Chloé and Hubert de Givenchy was refining the LBD for Audrey Hepburn – Paco presented his very first collection in 1966 titled “Manifesto: 12 unwearable dresses in contemporary materials” and strictly dressing SCI-FI films for a time. Labelled the “enfants terrible” of fashion – an iconic title later passed onto  John-Paul Gaultier – Paco is a legendary forefather for the space-age, and it feels befitting of his legacy to launch Phantom, and even more-so for his team to recognize the innate ingenuity and vision in artists such as Oliver. 

So, what is Phantom? As an i-D article succinctly states, “it’s been created with the input of neuroscientists and AIs to actively the mood of anyone who gives it a whiff, and its adorable robo-bottle features an NFC chip, which, when scanned brings the darling android to life.” Need I say more? In asking Oliver about how his and Paco’s world collided, he muses;

“I was literally like chilling at home, watching Hunger Games, chill as fuck. Somebody slides into my DMs – which is not unusual – and I am usually quite trepid because it tends to be people who fuck with my work, but are not serious about hiring me for pay or offering a fair budget. So I told them to email me, and they sent me this whole proposal with an NDA that I had to sign. I’m like, Paco Rabanne? What is Scumboy going to do with Paco-fucking-Rabanne? Then they sent me references of my work, and it was all the nature work I had made and they loved it. They sent me the budget, and basically gave me free reign to build my contribution for Phantom.” 

Oliver’s feature “A FUTURISTIC EFFLORESCENCE UTOPIA” showcases a magenta-filled river, totally and utterly other-worldly, and the kind of planet I hope to incarnate to in the next lifetime. 

 

“I wanted to frame humans and technology coming together in order to enhance nature, I know so much of the narrative is that technology is an opposition to the natural world, but I think we have to figure out ways to imagine that they can be symbiotic and complementary forces on our planet.”

I find this statement so refreshing – and as someone who self-confessed “stays inside most of the time” – Oliver recognizes the true need we have for integrating our reliance, and origination, from nature alongside our species’ own acceleration and expansion. 

Without giving too much away, Oliver’s latest work is yet to be released – but he does say it is an exhibition in Amsterdam, and a project that is used in partnership with AI. 

“I am creating my renders through my usual process, except I then upload it through this AI tech and input a text with key-words. The AI then takes the text, combined with your images, and based off its programmed scope of information it re-produces a whole new artwork. It’s crazy shit. I am basically collaborating with a robot – like, it’s showing me my work through its own “eyes”. I can’t give much more away, but it’s so sick.”

We chat about ethical implications around this, which I think will be the basis of these conversations for decades to come. But, Oliver’s relaxed approach – and self-taught, determined skillset – exemplifies the possibilities that are here. Using YouTube videos and sheer will-power, Oliver is paving the way for a new generation of artists, who are fearless in their pursuit of how to harness the capabilities of humankind’s development in the 21st century. 

What’s next for Oliver?

I have mostly international clients because in South Africa, we have the talent but we don’t have the budget or infrastructure yet to nurture sustainable careers for 3D artists. I am super hopeful, because with the internet I can make a living – but I’d really love to see more of us in the country develop digital skill-sets, because with the type of artists we have here, merged with the programs I use? Unstoppable, man.”

Written by: Holly Bell Beaton

Pop Sensation Martin Magner™ Releases His Third Explosive Single ‘Walk All Over U’

Pop Sensation Martin Magner™ releases his third explosive single ‘Walk All Over U’.

WHY BE STILL WHEN YOU CAN BE SPARKLING? I THINK IT’S TIME WE MOVE.

This song is all about turning darkness into light. Getting over someone or something by getting up and walking all over it. It’s a positive dance pop anthem about self-love, self-belief and being the main character in the game of life. Why be still when you can be sparkling?

Martin Magner™ made this in collaboration with MISSU, going back and forth online for weeks, they perfected this high tempo pop perfection and packaged it into 2:22 seconds (an angel number hello!) single.

Head to these links to download, stream and immerse yourself in ‘Walk All Over U’

Spotify
Apple
YouTube

CREDITS
Pop Sensation – Martin Magner™
Creative Direction – Martin Magner™
Music Production – MISSU
Director – Ramon Mellet
AC – Kevin Schneider
Editor – Tomas Wells
Grade – Kyle Stroebel @Refinery
Graphic Design – Martin Magner™
Animation – Caitlin Weare
Production Coordinator & Hype Girl – Maddie Magner™
Photographer – Hana Sho
Hair – Salomé de Wet
MUA – Raine Tauber
MUA Assistants – Innes Oosthuizen & Shani Strauss
Styling – Peter Georgiades
Looks – Blünke, Nao Serati, Patrick Church, Ludovic Saint Sernin
Mixing and Mastering – Vicente Espi, Songololo Music

Champion Trees Release Their Memorable First Single, “Californ-i-a”

Up and coming Cape Town indie rock band Champion Trees release their memorable first single, Californ-i-a, of a much anticipated debut album, “NOW 3000”.

A breezy, bossa-nova-infused song about Americanisation, “Californ-i-a” announces the arrival of Champion Trees to the Cape Town music scene. Lyrically, the song demonstrates a sharp, incisive knack for the observation of suburban life, sung to a melody which exhibits the band’s pop sensibility. A rich chord progression backed by a grooving rhythm section drives the song forward, with occasional lead guitar flourishes brightening things up.

Champion Trees was formed in 2018 when cousins Francis Christie and Lex Pienaar met guitarist Troy Nijland and drummer Langa Dubazana at the University of Cape Town. Finding inspiration from local heroes like Beatenberg, as well as 90s indie acts such as Pavement, Silver Jews and Belle & Sebastian, the band started jamming out songs. With COVID-19 bringing a period of pause, their songwriter Francis Christie twas able to  flesh out a backlog of unfinished ideas. By the end of 2020 he had an album’s worth of songs and in early 2021, with Cape Town starting to liven up, Champion Trees reconvened for a week’s worth of rehearsals in which new music was arranged and readied for recording. The band traveled to Nature’s Valley with recording engineer Marcel van der Veen (of Stellenbosch band Uncle Spike) where a small home studio space was set up. And after a few days of intense recording sessions, where van der Veen’s DIY approach, their songs were brought to life. 

The fun Champion Trees have had in the process of creating this music really translates into a refreshing, enjoyable listening experience. The band have put their best foot forward here with a striking first offering, and are one to watch in coming months as the rest of the album rolls out. 

 

Head to these links to experience  “Californ-i-a”
Soundcloud
YouTube

Candice Hatting and Refiloe Gava from Disco Creative Casting Agency On Challenging What It Means to Cast Human Beings and Recognising Talent

Talent agencies tend to be the shadowy, silent counterpart that works in the darkness seeding the teams that go onto to create commercials, editorials, campaigns, films, music videos, and pretty much any production that media platforms and companies require – and our beloved South Africa happens to be a high-demand geographical location for such creative pursuits, favoured by international directors and producers as a physically beautiful country and exceptionally inexpensive pool of  talent and teams that can – and do – make the impossible, possible. The conversation around our infancy in this realm – due to the consequences of apartheid and colonialism – is contentious, and we are still very much bombarded with euro-centric beauty and body standards; dictated by the dominance of the northern hemisphere’s hold over trends in fashion, design and creative endeavours. So, industry way-showers like Candice Hatting and Refiloe Gava from Disco Creative + Casting Agency, have played a huge role in challenging our conceptual understanding of what it means to cast human beings into roles and characters, and what it means to recognize talent in creatives such stylists, creative directors, photographers and so on. It would be disingenuous to say that there is no err of superficiality or symmetry-preference when it comes to this industry; but Refiloe and Candice, along with their team at Disco, have worked hard to imbue this space with a deeper sense of authenticity through highlighting, normalizing and providing platforms for a myriad of creatives and faces in the country.

MyFriendNed, which was co-founded in 2009 by Candice, as a non-traditional model agency that embraces a standard of diversity in their approach to representation. Celebrating the idiosyncrasies of their portfolio is one of their stand-out attributes. When MyFriendNed started, Candice was an established casting director. Her direction was noticeably different as she embraces not only talent, but also the less stereotypical models and actors. The talent pool at the time presented the generic look of chiselled bronzed bodies and that hyper-stereotypical character felt too repeated and demand driven – the desired aesthetic was stifling and not diverse enough.

“After 12 years of MFN running side by side Scout’s Honour, our casting studio company, we rebranded Scout’s Honour to Disco Casting. After rebranding to Disco, we made a call to try our hands at expanding that offering to creative representation and production. We felt it was necessary to grow our casting directors and use their skills in other areas. Disco felt like the right place to right a lot of frustration we found in the film industry; an opportunity to represent artists and facilitate a more organic version of production.

Being exposed to so many untransparent and exploitative productions over the years through casting and Ned, we learnt how not to be. We are still learning everyday but we know that what we are doing is offering a softer, more approachable stable. Our sensibility is more empathetic on every level. We offer creative support to artists in time when they need it the most and spotlight artists that are not typically commercial. We want to show work that is as authentic and meaningful as the artists themselves. We’re creating this space and in doing so we want the commercial world to embrace and be inspired by the work we represent. I think what we are trying to do is elevate the industry by example rather than open another cheap and fast agency doing the same thing.” Candice reflects on expanding MFN into Disco; which now hosts some of the leading creatives in the country, including Yonela Makoba, Mavuso Mbutuma and Akim Jardine.

Disco and MyFriendNed have been disruptive forces within the industry – expertly curated and collaborative with creatives, while maintaining a responsive relationship to the clients and companies that essentially pivot creatives in the country towards successful careers. In commenting on whether the change in the industry needs to continue at a corporate level – changing attitudes and values – Refiloe makes a case for the agencies compliance with industry standards that lack representation of diversity; a shocking and consistent occurrence, particularly in South Africa.

“Yes, brands do need to change, but I think agencies need to stop lapping it up just for the buck. They should be making real changes and becoming thought leaders. We need agencies to be accountable when they very clearly are the enablers of thinking that is not socially cohesive.  I think and feel that this is a big problem within the industry because essentially the brand communication depends a lot on research, which is not always properly or authentically conducted.”

It certainly feels apt that agencies should take the lead in this respect; as the space that should nurture their teams, fighting not only for their financial recognition, but also the expectations of the industries. We have become so used to the competitive and individualistic mindset that perpetuates in cycles, yet this is in direct contrast to the actual experience of being on a set; it is fundamentally a team-driven effort, toward a unified vision – and thus truly an example of the whole is greater than the sum of its parts. Spaces like Disco, led by women like Candice and Refiloe, instil a sense of hope going forward; for fairness, equality and respect. We love to see it.

Written by: Holly Bell Beaton

Kiff Khaya by Ruan Jooste

Following the recent uncertainty experienced here in South Africa, Deepest Darkest brings a freshness to the scene with the opening of digital artist Ruan Jooste’s debut solo show, Kiff Khaya.

Jooste celebrates the quirks and idiosyncrasies that mishmash into our shared commonalities, memories and nostalgias in a riot of fun, colour and wit. At a time when so many felt divided, he boldly reminds us that there is a uniquely South African joy that binds and connects us.

“I was inspired by my country, my continent and the amazing people who call it home. The vibrant colours of our landscapes, cities and towns, and the rich cultures that make up this rainbow nation. There is energy and grit in our urban and rural landscapes, downtown to township. I started this series in a time where we as a country have gone through tremendous strain and sadness. We have lived and seen devastation day after day during this pandemic and as I struggled with my own state of mind in making sense of it all, I wanted to remind myself of the joy this country also has to offer. Adding elements of fun and fantasy resulted in imagining another version of our reality. One that reminds you to smile. Not only for myself, but to share.”

Jooste was inspired by South Africa, the African continent and the amazing people who call it home. The vibrant colours of the landscapes, cities and towns, and the rich cultures that make up this rainbow nation. There is energy and grit in the urban and rural landscapes, downtown to township he says. “Opposite ends of the spectrum can be seen all around us and what always amazes me is how very different people can come together. Our people are lekker, they have a sense of togetherness, ubuntu.”

This series started in a time where South Africa as a country had gone through tremendous strain and sadness. Having lived and seen devastation day after day during the pandemic and as Jooste himself struggled with his own state of mind in making sense of it all, he wanted to remind himself of the joy this country also has to offer. Adding elements of fun and fantasy resulted in imagining another version of  reality. “One that reminds you to smile. Not only for myself, but to share.”

Jooste wants to acknowledge the nostalgia of mhis childhood. “Thinking of Lucky Star Pilchards always reminds me of my father and how he loved eating them on toast. Nik Naks will always remind me of high school and how we would buy them just to find the money in the packets to buy more. Chappies, Lucky Star Pilchards, Inkomazi, Iwisa Maize Meal, OK Bazaar, Black Label beer… they hold memories for many of us. What better time to reminisce on that fondness that so many of us share and remind ourselves that perhaps we are more the same, than different.”

 

Essential Details:
Ruan Jooste – Kiff Khaya
Opens Saturday, 25 September
11:00am – 5:00pm
Deepest Darkest: 20 Dixon Street, De Waterkant, Cape Town
Queries: [email protected] / +27 79 1384 203

Skigo Afroboss Released His New EP ‘Helicopter’ Featuring Fellani and Sandy Williams

Afroboss aka Skigo the Afroboss released his new EP ‘Helicopter’ featuring Fellani and Sandy Williams with a graphic visualiser music video that brings the cinematic graphic and scenes to life.

Having grown up in Mafukose where his father ran a barbershop, Afroboss was grew up listening to a variety of music from Marvin Gaye, to Bob Marley, Burning Spear Culture, ABBA and the various musicians that came to the barbershop.  Afroboss started out as a Reggae Dancehall artist in 2010, but after remixing Nigerian artist TEKNO’s song PANA  with his own Zimbabwean flavour, (BABY HAPANA), Afroboss realised that Afrobeat was where his magic existed. And the monicker title ‘AFROBOSS’ soon followed among peers and fans.

Afroboss’ first studio EP ‘KALIFE’ received considerable recognition in Zimbabwe, South Africa and Tanzania. The track went on to be remixed by Nigerian-born South African producer GUSO, who runs DEMAG recording studio under SONY AFRICA.

Stream more of Afroboss and ‘HELICOPTER’ featuring Fellani and Sandy Williams

Youtube

SoundCloud

/// ‘Helicopter’ graphic visualiser created by Creative Grind Imagining

Motion Bandits at Gallery One11

Originating in the USA as an urban evolution of “surfing” on tarmac – skateboarding has become one of the most evocative and enduring sub-cultural movements of the modern era. Growing up or living in Cape Town, skateboarding and surfing – synonymous with each other – remain highly popularized emblems of anarchy and effortless “coolness”; we all have friends (or ourselves) who skate and surf; beyond a hobby, and well into a lifestyle orienting us in society with a set of values, creativity and problem solving; all such iterations uttered to lineages of kids through the decades, directly from their relationship to the humble deck or board. Skateboarding is one of those incredible anomalies, however, no matter how marketable or mainstream it seems to become – it stands its ground as wholly underground; gritty, gnarly and beautiful in its continued ability to give real purpose and meaning to the lives of people from all backgrounds; races, gender, sexualities and socio-economic. It also intersects deeply with art, design, fashion, music and films; movies such as Lords of Dogtown, with Neil Young and Jimi Hendrix songs on the soundtrack, captured the mood of the ascension of skateboarding from empty pools in backyards around California in the 1970s, to Olympic recognition as we see it today. It is with this cultural legacy as the contextual backdrop that makes “Motion Bandits” such a hugely refreshing show in Cape Town right now; co-curated by Jared Aufrichtig and Livia Schneider, skate decks line the walls of Gallery One11 in Loop St, each uniquely illustrated, painted or interpreted with the vision of emerging and established artists – each with their own tie to skateboarding as both an art form and activity. 

I say “refreshing” because a public ode to skateboarding is rare; generally, and this is a serious generalization, all things underground tend to remain operating as undercurrents beneath the surface of the gallery and event rotations in Cape Town – personally, a lot of my proximity to skating occurred in the “deep south” – ‘kom and beyond – but with a show like this, featuring some seriously legendary names (Faith47, Roger Ballan, Tyler B Murphy and so on) Jared and Livia seem to have woven together a tapestry of some of the most influential artists within this realm in a totally laid back way; and I feel certain after speaking to them both that we are getting back on track, the entire Mother City, for a future we have all had to put on hold for the last 18 months of the pandemic.

Jared, hailing from LA, has become a coastal local in South Africa for the past decade – while still traversing the globe immersed in art, music, surfing and skateboarding while searching out the connections and parallels across these spheres. Having exhibited many times internationally at galleries and museums, he has over a 100 images and artworks published in books and magazines around the world and this includes a 700+ page coffee table book about South Africa and its youth culture. He has worked with numerous NGOs and facilitated a plethora of creative development and mural projects globally – this endeavour, Motion Bandits, being his latest. Co-curator Livia is a Namibian born and raised multidisciplinary artist, about to graduate in her BA of fine art from Michaelis School of Fine Art, who has been hosting immersive art experiences at GalleryOne11 under the Leap Collective which she co-founded with Nicolene Burger. Together the two have collaborated to produce this show, dedicated to raising awareness through its donations to Ladles of Love – a space that offers nutritious meals and support to communities around South Africa.

Jared expresses a profound passion as he walks me through each curated board; and I am struck by the exceptional vision of each artist to apply their essence or evoke awareness. The deck as a canvas? Epic – and a must-do this October. 

 

Motion Bandits | 111 Loop St |  09/10 – 23/10/2021

PARTICIPATING ARTISTS:

Amber Alcock; Anda Mncayi; Alicia McFadzean; Braveart; Braden Sadan; Ellena Lourens; California Jansen; Faith 47; Farai Engelbrecht; Gabriella de Gois; George Mars; Ghilian Chevelu; Isaac Zavale; Janko de Beer; Jared Mathew Naidoo; Jared Aufrichtig; Johno; Kelly Graval Aka; RISK; Keya Tema; Lelieh Hannam; Livia Schneider; Lindisipho Gulwa; Lorcan Berg; Luke Stroebel; Manuela Gray; Martin Bakker; Martin Lund / Marty Mcfly; Matt and Josh Hitchings; Mathew Potter; Max Armstrong; Masande Mhluzi; Mez; Norma Jean; Nqaba Shakes Fatman Mbolekwana; Olivia Davis; Ory Bwens Katalayi; Paul Senyol; Pastel Heart; Rico Swanepoel; Rein Langeveld; Roger Ballen; Romi Flowers (Geldenhuys); Shaun Oakley aka Damn Vandal; Shuaib Davids; Sophia van Wyk; Tanika Cronje; Tristan van Zyl; Tyler Pike; Tyler b Murphy; Vincent de Beer; Zinhle Zulu 

Written by: Holly Bell Beaton