The traditional gallery model is a necessary function and incubator of artists and exhibitions – yet a gallery is fixed to the space in which it exists, and although a space can always be transformed to suit the thematic needs for a particular exhibition – what if there was no confinement to one single venue? This is precisely the task of FEDE Arthouse – as a nomadic gallery launched by founder and artist Lebo Kekana, FEDE acts as conduit, curator and community-centric initiator of exhibitions that play with varying notions around the inextricable link between art – in multiple mediums – and its surrounding environment. Without the pressure of a venue – whether rented or owned – Lebo has tapped into the wellspring of vision and adaptability in himself, and his peers across art, fashion, music and design. Interestingly, FEDE Arthouse is not a counter-reaction to the traditional gallery model – in fact, Lebo feels it is intrinsic to our growing artistic landscape – but rather that there should always be alternative ways in which any artist can seek expression of their work out into the world. FEDE Arthouse is rooted in a very grassroots idea; that art arises from the ground upwards, among friends, family and communities – and that somewhere deep inside us all, our greatest longing is to create and share such creations with each other and have a great time doing it.

“I’m an artist and predominantly a painter. I really wanted to get into the art scene in Cape Town, but  I wasn’t very familiar with the channels or which doors to knock on. I have always had ideas around curation and how I would, in my own practice, like to see art being shared or experienced – so it made sense to start my own gallery. At first, not having a physical space was challenging – one has to really envision what a gallery is, as independent of a physical space. It became an opportunity to create exhibitions that feel dynamic – so far we have just done group shows, and each one is entirely different from the other. Currently FEDE is Cape Town based, but I’d love to see it spread across the country.” Lebo says, speaking to the tenacity of the artist to create what they require for their own development; this is a powerful sentiment, and one that is deeply encouraging for anyone who has an idea to bring a space or experience into being.

Although FEDE is a relatively young initiative, having been founded in 2020 with all the pandemic constraints many of us experienced, its foundations allows Lebo to meet his collaborators in a liminal space quite different to a physical gallery setting particularly this year in 2022, “I’m big on creating really immersive experiences. Being nomadic means that every show or experience is totally new, and comes with its own set of considerations that are unique – honestly, this keeps projects and exhibitions fresh; and it becomes an even bigger collaborative journey between myself and the respective artists; it shifts the dynamic in which I’m not inviting them into “my” space as a venue owner, rather we are entering and creating a new space together each time. I’ve seen how this evokes an entirely different energy around exhibitions.”

Engaging in art through various mediums is a central tenet to FEDE Arthouse – in turn, opening up the exhibition format to a wider spectrum of creators. Dissolving the boundary between what constitutes art as physical or material exhibition within a set of mediums is something we continue to witness in the world; in which “art” as in the industry, becomes more and more a function of exclusivity, while realms like fashion, music and digital lenses such as 3D illustration and graphic design constitute art, with the creators of multiple mediums identifying themselves as artists. Being an artist himself, Lebo is the figure behind FEDE – yet each new show brings with it a collective-style effort of collaboration. On this, Lebo says, “FEDE is just me, but depending on each project I have a variety of makers who come on board. It’s a temporary, project-based dynamic. I think there’s an impression that FEDE is a collective – which is great, because it is in a way – it’s a collective that is always changing and adapting to what is required, with the direction of it and myself being the only the constants. I love that this is the nature of the space – because with just one individual, none of this would be possible. I can begin and implement, but FEDE comes together and comes alive once more creators are involved and in space. I like the impermanence of it right now, but I hope in the future there will be a cohesive unit both with projects and outside of them too.”

The first exhibition put on by FEDE was at a house in Woodstock, with the spatial considerations emphasizing elements such as furniture and seating. Within this domestic space, a stripping away of the seriousness and rigidity of traditional gallery spaces and rooms, allowed the attendees to feel into the space, and connect with each with comfort and ease. Most recently, FEDE showed at Ghost – with the element of music being central to the experience alongside The Other Radio, on this Lebo says, “That was a great experience – but challenging too. With the feeling of an event, art is not the central focus or purpose at any given moment, but I really relied on the idea of someone suddenly finding themselves, mid-conversation at a party, surrounded by art.” This show featured a panelist of speakers; “With the panel for our last show, I really wanted to bring in an intellectual element, in which there was direct contextualisation for the experience coming from a select group of artists. I think galleries can be intimidating, so to have a more relaxed environment of conversation and interaction allows the show to be more accessible – and introduces people to a variety of artists and mediums in a single space, from writers to musicians and so on.”

Recently, Lebo spoke to Bathandwa Ngwendu at Maak ‘n Plan HQ at the Exchange Building (Lemkus’ home for all themselves and all their collaborators) – a podcast I encourage you to listen to. Powerful conversations and actions are happening, and FEDE Arthouse is a central space for the evolving landscape for art in South Africa. We are excited for the upcoming showcases and releases from FEDE – info dropped at @fede_arthouse as when it happens, it happens.

Written by: Holly Bell Beaton

The pathway from architect to designer and artist seems to be gaining ubiquity – from Danielle Smith, a previous feature of ours, to Virgil Abloh, to Zaha Hadid and Mario Bellini – yet, perhaps the distinctions we hold for categorising architects / designers / fashion designers and artists are merely that; categories that provide neat constructs for us to understand the creative anima that precedes, initiates and directs the outcome of these disciplines. Maybe it’s not so much a pathway or pipeline; but an eventuality for some, and a shift we need to make regarding our prescriptions and semantics around the act of creating. Ross Robertson is one such designer who originated his perceptual and creative through architecture; and with his entry into design; exemplifies the intersecting nature of architecture and design – the idea that these two methods exist more as an axis than as parallel occurrences in his life. Under the moniker Oliver Whyte, Ross is finding creative solace in defying the rules of his own making as an architect, with an initial design praxis that concerned itself with sharp lines and clean materiality; the latest designs from the studio at first glance read as concrete forms depicting rawness and heaviness – yet made with rubber and foam – bring together a juxtaposition of lightness veiled by weight and in some cases, lightened and tempered with pastel hues of baby pink, lavender and mint green.

This collection, titled “Heavy” debuted at Decorex 2022 – on this Ross says “Sometimes my work looks like two different designers – there’s this juxtaposition between clean lines and a clear reference to architectural technique, and then the robust presence of colour and the shapes of concrete that I elected to paint in pastels. I’m usually so clear on being monochromatic in my own personal life, so using colour as part of my design process has initiated this sense in me that things can be playful. When we are younger, anything can be anything – like using a spoon to make an aeroplane or a pen into a car – as an adult, objects are totally fixed, and the suggestion of otherwise is a cause for concern. I think that’s why I’m quite focused on form at the moment – function is what it is, it is always being dealt with – this collection is really about that own inner process I’m experiencing as a designer.”

To create as a designer is to self-actualise – and often, creative blocks arise when we resist the call to go deeper, or further, from the spaces that provide comfort and familiarity, speaking to the inner-initiatory challenge that every artist must eventually face, Ross comments “I think it’s important to stave off any conception of the final destination. We were taught that in architectural training – to never envision the final building too closely, and instead focus on the process. It’s only by that, that I’ve been able to realise over time that my head has wanted me to perfect design – perfect angles, geometric expressions, cleanliness. But my hands do otherwise, and instead of having to confront this struggle, I’m now allowing a total surrender to unfold in my development as an artist and designer, to ensure I make things that reflect different aspects of who I am and what I’d like to see in the world.” Part of this actualisation has been Ross’ incorporation of an identity etched in his full name – for which he explains, “Oliver Whyte is the middle name of my full name, and like an alter-ego too. It was this whole portion of my name that sounded like a real person on its own,  that wasn’t being used – and so it’s been great to use Oliver Whyte. I respond to both Ross and Oliver, and don’t correct people if they say either because they are both my names – just in a linear order, but descript for my whole identity.”

With a design landscape emerging – ours in South Africa is considered quite young – the sense of particularity in our collective design aesthetics is built around a small percentile of tastemakers who with privilege and access, tend to define the mood of design in the country; yet for Ross, this totally counter-intuitive to process of design; “I think we have such an abundance of amazing designers making great things, but I think we are yet to have the spaces in which our design industry can fully take root. There are more art galleries in Franschhoek than design galleries in the whole of the country. I don’t know if we are yet at a place where we truly see design as art, and whether either space is at all accessible. These are still very exclusive spaces that feel like it’s by invitation only. Yet, most designers and artists I know including myself are designers because it’s an inherently democratic process – it’s innate to human nature, for all of us, to make with our hands.” It’s with this simultaneous participation and defiance that Oliver Whyte Studios finds its place as a nexus for compelling design and considered philosophy; towards a democratised design industry, injected with joy and imagination.

Written by: Holly Bell Beaton