Angus Taylor
Portraits of Inflation Series: Narrative Self Portrait, nine
About the SessionThe Toyota Stellenbosch Woordfees Benefit Auction forms an integral part of Strauss & Co’s ongoing partnership with one of South Africa’s leading arts festivals. Now in its fifth year, the auction reflects a shared commitment to supporting the visual arts and creating meaningful opportunities for artists and collectors. Held at Stellenbosch Town Hall and accompanied by a curated preview exhibition, the auction brings together works by both emerging and established artists. Its intention is to encourage new and seasoned collectors to engage with and invest in South African art, while expanding the market and improving access to the work of leading local artists. At its core, the auction places artistic excellence at the centre while seeking to create greater visibility and recognition for contemporary artistic practice.
LOT 46
Angus Taylor
Portraits of Inflation Series: Narrative Self Portrait, nine
About this Item
each signed, dated '20, numbered 5/12 and inscribed 'OSW'
Exhibited
Everard Read, Johannesburg, The Portrait Show, 26 March to 2 May 2020, another example from the edition exhibited.
Notes
Angus Taylor is well known in South Africa and abroad for his powerful, often large, works of sculpture, characterized by outstanding craftsmanship and the use of alternative and natural materials.
He focuses on the material process with a direct flow through the artist as collaborator, and the material as conveyer of meaning. From the conceptual development through to the end result he “interrogates” his materials and uses them as signifiers of thought while also aiming to make art that communicates with viscera. In his view of “public art without an agenda”, referring to the absence of political and cultural baggage of the past, he replaced traditional heroes with male figures portraying something of the heroism of the common person, with male figures transcending overt stereotypes. Therefore, his sculptures read as neither black nor white, but rather as inclusive and above all accessible and inviting forms, as anti-monuments.
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