• Thumbnail for Figuring (straightjacket), 2015-2017
    March 6th, 2017 | 1 image

    Figuring (straightjacket), 2015-2017

    150 x 100 cm
    Digital Photographic Print, mounted and framed

  • Thumbnail for Black Swan, 2016
    August 7th, 2017 | 1 image

    Black Swan, 2016

    150 x 100 cm
    Digital Photographic print, mounted and framed

  • Thumbnail for Liewe Heksie, 2015
    August 7th, 2017 | 1 image

    Liewe Heksie, 2015

    65 x 55 cm
    Digital Photographic Print, framed

  • Thumbnail for Selfshots, 2013
    September 5th, 2013 | 28 images

    Selfshots, 2013

    Selfshots: A Reflection by Andrew Lamprecht
    We are all mirrors. Others see themselves reflected in our visage as much as we do ourselves in gazing at their faces. The portrait traditionally portrays more than a mere likeness, it is supposed to convey some essence or some inner truth of the subject conveyed. Today in the post-photographic, online world of images, this old adage may be under threat.
    In this series Hentie van der Merwe presents what, in my view, is a radical re-visioning of what portraiture might encompass in our current Web 2.0-saturated age. His process involves finding selfshots on the internet, photographing, retouching and rephotographing the images until they take on what one sees before one in this exhibition: painterly photographic reflections of not so much the original (self)subject but reflections of the artist and indeed us, the viewer. This process utilizes mirrors at several stages of production. The selfshots taken by means of an unknown subject in a bathroom mirror, perhaps; the reflection on a computer screen; the mirror in the camera that Van der Merwe uses to recapture the image. Photoshop itself acts as a sort of postmodern mirror here, reflecting something as though seen through a dark glass, or even a Claude glass, the technical equipment and painterly aid that allows landscape to be seen in a way akin to the style of the painter Claude Lorraine, that is to say distorted in a sublime way.
    When we photograph someone we say that we have “taken” their picture. This term predates photography: eighteenth-century portraitists were also said to have “taken” someone’s picture in painting a portrait. Here Van der Merwe is indisputably “taking” an image, downloading it from a website, and then making it his through his artistic process and practice. But in that act of taking he is, I would argue, also giving. The process is time-consuming and meditative; each image on display has undergone a similar procedure and in these almost ritualistic enactments it may seem as if the artist has performed, in each case, a recitation. Citing an existing found image but then imbuing it with some other quality through the performance of an artistic liturgy that in its turn produces something new and wondrous.
    The images around you are mirrors in which you may gaze and perhaps, if you allow the reflection to resolve, will reveal more than that which was first present at the initial taking, alone, in someone’s private space, as a confident if vulnerable erotic gesture sent out on the seas of the internet.

  • Thumbnail for Trophy Cam, 2013
    September 5th, 2013 | 4 images

    Trophy Cam, 2013

    The photographs in this series derive from images taken by remote trail digital camera (marketed under the brand name Trophy Cam) for the purpose of game surveillance by trophy hunters. It is a device that records images, either as a still photograph or a video. The Trophy Cam device is rugged, weather-proof and designed for extended unattended outdoor use. It will automatically take a picture when it senses motion. Each image is stamped with the date and time it was recorded. This game camera will usually function day and night by sensing game out to around 14 meters.

    The works that are part of this series are derived from images taken on the artist’s family’s farm in Namibia, where he grew up. The farm is currently being used for the purpose of trophy hunting. At times, during the recording of an image, there occurs a technical glitch, which results in a photograph that is heavily pixelated in areas or with part of the image a large flat colour. It is these ‘failed’ attempts at remote surveillance of the landscape that the artist printed out on his desktop printer before re-photographing these images in a flexible mirror using a medium-format film camera so as to produce the works in this series.

  • Thumbnail for Trophies
    October 4th, 2012 | 11 images

    Trophies

    Photographs of silver and gold trophies, their refections captured in a flexible mirror.

  • Thumbnail for Self with red, 2003
    October 15th, 2012 | 4 images

    Self with red, 2003

  • Thumbnail for Specimens, 2002
    October 4th, 2012 | 14 images

    Specimens, 2002

  • Thumbnail for Trappings, 2000/2003
    October 4th, 2012 | 16 images

    Trappings, 2000/2003

    In this series of photographs Hentie van der Merwe’s sojourn into the field of masculinity, memory and war is a poignant deliberation upon the place of the military uniform in the psyche of war and conflict. Shot at the South African Military History Museum in Johannesburg, Van der Merwe’s life-size photographs hone in on some of the military uniforms worn by South African soldiers during the Anglo-Boer South African War, the two World Wars and the Angolan War. Using the convention of blurring, Van der Merwe’s photographs not only disrupt the authority and power of the ritual dress of war, but also bring into question the place of the military uniform as an archive of memory.
    Trappings is a continuation of Van der Merwe’s earlier work on the body and the archive. His previous body of work, using a collection of anthropometric photographs of naked white men recruited for duty in the Second World War, was a meditation upon the grid as a mechanism that not only archived momentary identities, but also mapped the parameters of masculinity. In being an exploration of social perceptions about masculinity and war the work inverted traditional self-other dichotomies and offered important answers to the question of a political art in post-apartheid South Africa.
    In this new body of work, Van der Merwe has chosen the military uniform – the dressed body – rather than the naked body to explore question of masculinity and memory. In the same way that his earlier work foregrounded the vulnerability of the body readying for war, his new photographs rearticulate the military uniform as the cloth that hides similar vulnerabilities. Traditionally, military uniforms are not only the distinctive dress of members of specific regiments or units, but are also decorative forms of hiding. Even as the imposing, costume-like grandeur of nineteenth-century uniforms fell away as the twentieth century advanced towards the ever-increasing demands for functional battle clothing, costume has remained a crucial form of concealment.
    Like the archive, the uniform is a construction of memory. And like the archive, the uniform masks certain contradictions. As much as the uniform is a marker of violence, with medals and bars that speak in colourful, lustrous ways of a soldier’s service to war, it is also a seamless language that along with various other forms of embroidery and metallic details is silent about the detriments of war. Here the wounded, dead and psychologically scarred, lies hidden behind heroic acts and brave deeds. The uniform is a clinical re-articulation of war, a regimental archive of the cold face of masculinity.
    The uniform is so much an iconic part of South Africa’s over-militarised history. It is the uniforms of this heritage that Van der Merwe captures in ways that question the brave face of masculinity, the unsullied innocence of war and the intimate details of memory. The absence of sharp details in the photographs, the display case lighting that Van der Merwe re-presents in photographic form and the shifting angles from which he has photographed the mannequins all work together in a series of images that are the antithesis of the vision of military uniforms.
    In capturing these uniformed with a blurred vision skewed just enough to lose details but not a sense of immediate recognition, Van der Merwe manages to foreground the fragility of their authority. The uniforms become emasculated by the castration of the details of valour. The luscious, rich and extravagant details, each a marker of authority and privilege, fade beyond recognition into the realm of mere decorative patterns. Without instant markers of recognition, the uniforms become something other than themselves – decapitated, skeletal remains of memory.
    Like costumed mannequins in shop front displays, these uniforms stand in the museum context as markers of a fashion for adornment. The natural lighting of the museum displays housing the uniforms adds a ghostly life to a number of the photographs. The uniforms stand isolated from any real context, decapitated from the waist down. As much as the photographs capture the uniforms of particular individuals they also reflect the absence of the male body. Van der Merwe positions them as amputated mannequins, beheaded by the legacies of histories that prioritised the virtues of the valiant and bravery.
    The photograph of the reconnaissance gear worn by a soldier from the SADF’s 32 Battalion, in the way that the figure lurches forward from the blue depths of the background, is a particularly poignant reminder of the clandestine history of apartheid-era militarisation in South Africa. Formed in the mid-1970s, at the start of South Africa’s involvement in the Angolan War, 32 Batallion was deeply involved in covert cross-border operations from the then South West Africa into Angola. Van der Merwe’s photograph of an shadowy, indeterminable presence cuts to the core of a military unit whose tactical presence in a foreign land was so vehemently denied by the South African state.
    Van der Merwe’s photographs, boxed and recessed behind glass, evoke the museum display cabinets that house so many of these uniforms and their histories. But the stasis of the museum object is reanimated by Van der Merwe’s camera in ways that challenge the archival histories of these uniforms. The way the military remembers its soldiers through the adornment of uniforms and the way the museum remembers its military history come before Van der Merwe’s lens in ways that critically engage the relationship between the selectivity of memory and the power of identity.
    The memories of war and the identities assumed of the men who go to war are crystallised in Trappings in ways that challenge our perceptions about military dress. The burden of war, its physical legacies in a land traumatised by a deep-seated physical and mental violence, is brought to the fore in Van der Merwe’s blurred disruptions of military dress icons. His iconoclasm is that of a white man’s guilt fishing the battles of history, battles fought, won and lost in the name of the valour of war.
    - Rory Bester

  • Thumbnail for Untitled ('pray' and 'tears'), 2000
    October 13th, 2012 | 1 image

    Untitled ('pray' and 'tears'), 2000

    Cibachrome print
    120 x 180 cm
    Edition of 1
    Collection: private

    This work was produced for Secure the Future - an exhibition and auction of African Art to benefit HIV/AIDS care and research in Southern Africa, sponsored by Bristol-Myers Squibb Company.

  • Thumbnail for 1999
    October 11th, 2012 | 3 images

    1999

  • Thumbnail for 1997
    October 11th, 2012 | 1 image

    1997