Notes

Renowned for his dark comic humour, Norman Catherine’s paintings and sculptures contain characters that appear to have emerged from graphic novels or films.  Here we witness a man with all the manic energy and elasticated action of Jim Carrey’s Stanley Ipkiss in The Mask.  In a double-edged comment on corporate culture, he scrapes the floor as he takes a low bow and yet his hand gesture suggests he’s anything but subservient. 

Bright, primary colours produce vivid contrasts and bold forms heighten the exaggerated action.  His ironic titles excite laughter but their unnerving edge provokes reconsideration.  This statement on power and obsequiousness is presented in a carnivalesque atmosphere, marking a distinct shift in the mood of Catherine’s work since South Africa’s change to democracy.