Sanell Aggenbach at the AVA
by Paul Edmunds
Twelve black sheep face a framed needlepoint circle, another casts a glance a little off-target. Standing amongst them, the effect is quite unnerving and not just a little bit ticklish. Sanell Aggenbach's The Collective is a flock of 13 life-sized sheep made from various composites and covered in inviting, plush fake fur.
All similar, but slightly distinct, they lift their heads and cock them slightly in an inquisitive manner, inviting an affectionate stroke. One can't help but drag out the 'black sheep' metaphor and then ponder exactly what a flock of those might mean. Like teenagers, torn between blending in and standing out, one black sheep's individuality is nullified by the similar flock, each member of which promises similar uniqueness.
The adolescent reference is valid in that Aggenbach has presented her third solo show 'Blank' as a satirical observation on the disingenuous cultural inheritance of Afrikaans youth. Faith, the object of the sheep's adoration or contemplation, holds no promise at all. An off-white, wheaten disc of uniform texture hints at nothing but blandness and conformity. Why then are the sheep so enraptured by this object? Again, a metaphor surfaces - 'blind faith' (in accordance with this, the sheep appear to have no eyes).
In her publicity for the show Aggenbach mentions the biting satire of Bitterkomix and aligns herself with its parodic take on Afrikaans culture. But, where Bitterkomix is brutal and merciless, Aggenbach is lighter of touch. One can't help but feel gentle affection for the lost innocent souls the sheep appear to be. At the same time, one longs for an act of integrity or individuality, dissent or assertion.
Aggenbach has used the Long Gallery to great effect. The flock stand on your right as you walk in, drawing you amongst them towards the wall upon which they are fixed. Retreating to the left you come upon three more framed needlepoint works. Facing each other on opposite walls are Pride Iand II.
On a long rectangular format, the former depicts an arid South African landscape, which owes much to Pierneef. The long low hills are dwarfed by a tumultuous cloud formation above. Working in a narrow tonal register and limited colour, Aggenbach displays an acute understanding of Pierneef's language. The edge of cloud catching the sun is very carefully tinted, invoking the orange under-painting often visible in Pierneef's work.
Opposite, II depicts a reverse image of the same, but this is disjointed and shifted like a broken mirror and the colour is even more bleached. Aggenbach refers here to a questionable heritage, the promise of which now rings hollow.
All the work on show is carefully and thoroughly realised. Aggenbach's aims are clear to herself and she has certainly achieved what she hopes. There is a little hint of Doreen Southwood, both in the formal quietness and the finality with which the work declares itself (this is made all the more apparent by Southwood's Black Hole which hangs just on the other side of the wall where it is part of the 'Committee's Choice' show).
Like Southwood's, and like the Bitterkomix comparison Aggenbach invokes, the work is exquisitely crafted and produced. It represents a major change of tack for the artist whose last show comprised large figurative paintings, demonstrating a remarkable agility and versatility.
Opens: 6pm, Monday May 19
Closes: June 7
Association for Visual Arts, 35 Church Street, Cape Town
Tel: (021) 424 7436
Fax: (021) 423 2637
Email: estava@iafrica.com
Website: www.ava.co.za
Hours: Mon - Fri 10am - 5pm, Sat 10am - 1pm
