November/December 2014 - Bronwyn Lace "Teeming" : SELECTED PAST EXHIBITIONS : CIRCA Gallery

November/December 2014 - Bronwyn Lace "Teeming"

Bronwyn Lace is a practicing installation and performance artist based in Johannesburg, South Africa. Lace’s work investigates the relationships between art and other fields, such as physics, mathematics, museum practise and curation. She believes that when these relationships are expressed visually new meaning and solutions for the ways in which we relate to one another and to our environments are seen. Lace is interested in how spaces relate to the proportions of the human body and how beauty and immersive bodily experiences influence thought and belief. As part of this practice she participates on national and international projects focusing on the role of art in the development of communities. Each community artwork takes place through a process of area research and engagement with the community and landscape. The conceptualisation and production of the work is informed by and involves the communities they affect. Bronwyn has initiated in collaboration with Marcus Neustetter various community and land art pieces in small towns within South Africa. She ran the About Art education and exhibition programme at The Bag

Factory Artists' Studios from 2006 - 2010. She sits on the board of the David and Goliath Foundation and is assistant curator of the South African Broad Casting (SABC) art collection. In line with the five year collaborative project with Neustetter in the small Karoo town of Sutherland Lace has currently formed a partnership with the Africa meets Africa project, an educational film and book resource Not for Profit organisation. Bronwyn completed her BAFA from the University of Witwatersrand in 2004.



From the 6 November 2014 Bronwyn Lace will be presenting Teeming, an exhibition to be held at Speke Photographic, Rosebank, Johannesburg.

Teeming features a cross section of Lace’s studio practice over the last 4 years.  Examples of her Collapse, Found Bodies and Reliquary series are on show, as well as a first electronic and interactive installation titled ‘Labour/Labor’ and the a second in her new series of outdoor sculptures ‘From Orient to Occident’.

I have heard it said, though I don’t like to think about it, that the dust we inhale in our homes is strewn with thousands of tiny insect bodies. There are hidden mites and midges and spiders, infinitesimal worms and beetles, and countless other creatures that don’t fit any familiar description. “Bugs”. Under a microscope they look like aliens. Perhaps it’s best that we can’t see them with the naked eye. Surely too small to have brains, these little automatons burrow hungrily through the universe of dust that converges even on a clean home, between mattress and base, carpet and tile. They feast on each other and on the skin humans slough off as we scratch our faces and lurch and list in our sleep. It is a grim ecosystem, one that we both sustain and imbibe daily, as if we need it. It is their scale relative to ours that makes the lives of these bugs not only invisible to us, but insignificant as well. Things we cannot see - or choose not to look at: we go on as if they don’t exist. In the same way, most of us are unstirred by momentous events in space until they are wrestled by telescopes and algorithms into the realm of the humanly visible, a tendency of ours which proves that our prejudice against the unseen hasn’t to do with size per se, but with what our eyes are able to take in.

An artist’s job, much like a scientist’s, is to work hard at looking, so as not to let the dust-lives or the planets disappear from human history. Artist Bronwyn Lace undertakes her duties by holding these two realms of the invisible together as one. Her interest in the aesthetic power of scale pulls the universe’s “dust” - clusters of rock millions of lightyears away - and the earth’s smallest inhabitants, the bugs, into the same field of view, the field in which we are accustomed to looking at each other, road signs, quotidian objects and, usually, artworks.’



Anthea Buys

from the essay Encounter with the Transcendent published in the 2012 catalogue: Bronwyn Lace A Tendency Towards Complexity