The wood burning tool finally arrived! I cannot wait to start using it. As a result, I have started looking at artists who use wood burning techniques in their work. One such artist is Sandile Zulu who is a South African artist. Just take a look at these.
This is what the October Gallery had to say about him:
Sandile Zulu was born in 1962, in Ixopo, KwaZulu-Natal, South Africa, and now lives and works in Johannesburg. Since graduating from the University of the Witwatersrand in the early 1990Õs he has exhibited extensively, locally as well as in the United States, Germany, France, Sweden, Scotland and the Seychelles. He has received many international awards and is represented in public, corporate and private collections around the world, including the South African National Gallery. Sandile Zulu: Planetary Cycle is presented in association with Michael Stevenson, Cape Town.
Here is how Zulu describes his work with the South African Contemporary Art blog :
‘To me the framework of addressing issues is metaphorical rather than direct or obvious,’ says Zulu, ‘so you see in my work details which have reference to histories of religion, to revolutionary politics, art making, psychological relationships. There are many forces within myself as an individual and as an artist in South Africa,’ he says; ‘external forces around me and international forces. I am aware that the question of self-identity is very much determined by one’s cultural heritage.’
Commenting on the old art-market pressures on South African artists to reflect their society, Zulu says, ‘This robs the artist of his intention and conception of art,’ adding that his own work is wholly inner-directed.
Shibui is a Japanese term which refers to the greater beauty an object acquires
through age and marks of use. It is a concept which comes to mind when considering the work of Zulu. Two pieces of the old hide-top of a drum – so old that the middle has worn through and only the stiffened edges remain with their slashes where the top was pegged onto the sides – have been thonged together and hung on the wall under a netting of thin card. The piece is untitled, non-specific, but powerfully evocative, eliciting images of a barely veiled, exposed human rib-cage.
‘I do my work to enjoy what I’m doing,’ says Zulu, ‘and to make beautiful work even if it doesn’t talk about beauty.’ Zulu’s aim, then, is not to soften the struggle, but to give it his own interpretation. Fire is his paint.
More information can be found here: