Eclectica Contemporary

Justin Dingwall 

We were fortunate enough to ask Justin Dingwall to answer a few questions for us on his work and what his thoughts are about the world of photography! Read below and view his work as part of our exhibition Stop Stop Click, curated by Clare Patrick. 

 Eclectica Contemporary: As a photographer in a world where everyone has a camera and Instagram and whatnot, your work clearly distinguishes you as a photographer with a unique vision and practice. Can you elaborate a bit more on your process – specifically how you came to your method of working?

Justin Dingwall: I have an inquisitive eye, a passion to explore avenues less traveled, and the desire to create images that resonate with emotion, my passion is portraiture. I love meeting and photographing people, and creating a world within an image. My art is very personal, and I am inspired by everything. I try to find inspiration in every moment. I’m always trying to think on my feet and the one thing that I think that sets me apart is that I never give up.

EC: When are you certain of an idea? How much time does it take from a spark in your mind to the finished project?

The majority of projects that I create are mostly long term processes that tend to focus on a certain topic that I investigate quite deeply. I become very involved with the research, planning, conceptualization and finally the creation of the artwork.

EC: Is there an artwork here you are most proud of? Why?

JD: I love all of my images in the series Albus, and the reason for that is because they are all so different, I use specific elements to foreground the symbolic meaning behind each work.

Water is another element I uses to reflect society’s perceptions. Water suggests self-reflection and it is often used in literature as a symbol of change.

The snake that I used in my newer works connotes transformation - as in the shedding of old skin to make way for new and also, as in medical discourse, to represent healing.

Another symbol of nature used in this series is the butterfly. By using butterflies my aim was to influence the viewer’s vision to be transformed, allowing them to view albinism in a new light - as something unique and beautiful. In the process of transformation, butterflies go through a major metamorphosis changing to such an extreme they are unrecognizable at the end of the transformation.

EC: What was your scariest experience while working?

JD: I don’t have a scariest experience but A moment that really stands out for me was when was when I created the image Rebirth. Sanele is a true professional that is up for anything! I have thrown many challenges his way and he has always stepped up to the plate. He has a deep phobia of snakes and snakes were a part of this body of work. He was truly brave in facing his fear to allow pythons to be draped across his head and shoulders.

EC: What was an extremely thrilling moment that you’ve expressed as an artist?

JD: This series of images is very personal to me, and has been a big part of my growth as an artist. It has been an amazing experience to share these images and experiences with others. I am always amazed by people’s opinions and to see how these images have affected their perceptions.

EC: Do you see art as a kind of visual vocabulary? Do you think it has a role to play outside of the art world?

JD: I definitely do. I find it far easier to communicate visually and get my ideas across.  Much like other forms of communication, I use my artistic ability to give imagery meaning and context.  I use my art as a means to start a conversation.

Artist play a diverse and essential part in contributing to the overall well-being of society. 

Artist can use their work to start conversations, interaction, and inspiration, but there work can also give thoughtful assessment to our political, economic and social systems — pushing communities to engage thoughtfully and make steps toward social progress.

EC: What is your most important artistic tool? Is there something you can’t live without in your studio?

JD: My camera and the internet. Both items are very important tools in the creation and development of my work. 

EC: How did you start making art? When was the first time when you created something that let you know this was something you’d continue with?

JD: I have been creating art ever since I could pick up a pencil and scratch marks onto a page, be it drawing, painting or sculpture. But the first time that I knew that I was on the right track was when I started using a camera. 

EC: What memorable responses have you had to your work?

JD: When the poet Legogang Mashile wrote a poem for my book Albus called “BOXES”. It has to be one of the most amazing and memorable experiences. The way she was able to capture the art with a poem is incredible.

EC: Your work often involves collaborating with lots of other people, how do you mediate between collaborating and sharing ideas but still maintaining your own vision and artistic space.

JD: I like to use the analogy of the orchestra conductor. The conductor’s role in the orchestra is the ability to lead, inspire and build a team with a common goal, one that must be clear in the conductor’s mind before he begins.

EC: What do you think is the future of photography, particularly in South Africa?

JD: I see a bright future for contemporary photography in Africa. It is amazing to see how it has grown over the last 5 years with galleries and collectors. With institutions taking photography more seriously and the development of a photo based art fair in Africa I see a bright future ahead of us.

EC: What do you think is one integral factor to the work of an artist?

JD: Work hard, work even harder. Don’t stop working.

EC: Finally, what is the one location or person that you wish you could photograph?

JD: I have a list of people that I would love to photograph, this list changes on a weekly basis. Photography has allowed me to meet many wonderful and interesting people, I think that is the reasons I enjoy what I do so much. Through my camera I am opening myself to the world. From these experiences I learn and grow. 

Mia Thom

Nocturne for a Camera Obscura

Site specific sound art performance recording. 

Mia Thom 

Untitled 

(Rosin print)

Mia Thom

Darkroom Performance 

The Universe by Kyu Sang Lee

Art, being many things, can also be understood as performative. Artists like Benon Lutaaya enact their processes from a variety of evocative places, be it consciously or subconsciously and present their experiences before us as the audience.

ARTWORK:

Benon Lutaaya

One of the striking elements within Benon's work is his ability to convey hope in the midst of chaos and degradation and aptly does so by portraying the physical embodiment himself of hope through struggle, Nelson Mandela. We walk into this year facing it head on, taking it on with pride!

ARTWORK:

Through the subversion of religious icons, Layziehound challenges society's social constructions to identify the moral injustices hidden beneath them and the ways they are justified.

ARTWORK:

Layziehound Coka

The devil made me do it

2017

Layziehound Coka personifies and exposes the seduction of a seemingly “fair” judicial system as it stands before us with drapes that mask precarious and at times unethical structures of judgement.

ARTWORK:

Layziehound Coka

She makes salvation scream

2017

Mixed media on canvas

Not a judge, Not a Saint exhibition

Eclectica Contemporary is honoured to announce the opening of Not a Judge, Not a Saint, a solo exhibition featuring: Johannesburg based artist, Layziehound Coka. Not a judge, not a saint, a “neither-nor” statement with a slightly deceiving sense of neutralism reveals the ease at which we dissociate ourselves from the judgements we make. Layziehound questions the power trajectories prevalent in…

- by Layziehound Coka, hosted by Eclectica Contemporary.

Eclectica Contemporary is honoured to announce the opening of Not a Judge, not a Saint, a solo exhibition featuring: Johannesburg based artist, Layziehound Coka.

Not a judge, not a saint, a “neither-nor” statement with a slightly deceiving sense of neutralism reveals the ease at which we dissociate ourselves from the judgements we make. Layziehound questions the power trajectories prevalent in society, be they religious and socio-political ideologies or those whom uphold them. His large, gestural body of work expresses a turbulent experience of conflict when tackling the so-called moral compass the artist and those of us alike are taught to live by.