Contemporary Art

Live Virtual Auction, 15 February 2020

Contemporary Art

Sold for

Unsold
Lot 40
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four
  • Berni Searle; Yield; Free Fall; Descent II; Descent III; four


Lot Estimate
ZAR 80 000 - 120 000
Selling Price
Unsold

About this Item

South African 1964-
Yield; Free Fall; Descent II; Descent III; four
2006

edition 1/3

lambda print
99 by 120cm each

Provenance

Property of Kangra Group (PTY) Ltd

Assembled by the Late Graham and Rhona Beck

Exhibited

Michael Stevenson, Cape Town, Berni Searle: Crush, 21 September to 21 October 2006.

Literature

The prints show the artist on a mountain of crushed grape skins; where she climbs, falls and lolls. This work once again reflects the artist’s exploration of her own body and homeland. The grapes reflect the origin of wine farming, a significant component of the local economy.1

The work refers to the traditional process of wine production: crushing grapes with the feet. However, since the mountain in Searle’s photographs consists only of empty, already dry grape skins, this activity becomes meaningless, which gives the present work a much deeper meaning.2

“What excites me about hosting Searle are her unapologetic and bold statements, which make her the voice of many. In an awkwardly subtle manner her body of work explores the many levels of what constitutes a human being. It particularly resonates with me as a young woman of colour who often wonders, why is it that my mere existence upsets and rattles so many in my province, country and continent of birth?” explains Nobesuthu Rayi, Associate Producer of the National Arts Festival, who featured Searle in their 2019 edition.3 

 

1. Tavish McIntosh, 2006, Bernie Searle at Michael Stevenson, https://artthrob.co.za/06nov/reviews/stevenson.html

2. Michael Stevenson, 2006, https://archive.stevenson.info/exhibitions/searle/crush/index.htm

3. https://www.nationalartsfestival.co.za/main/berni-searle-bio/

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