Izanne Wiid - Artist
izanne wiid

Izanne Wiid - Artist

 
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News:
  • Current: PPC Cool Capital Biennale Bench - Jan Celliers park, Pretoria *** "TRT vertical element artworks" - Tshwane Rapid Transit (TRT), A Re Yeng, (Let's Go) bus System - Mansfield Station, Mansfield Road, Pretoria *** 'It's Not all Black and White' - Art@TheClocktower, V and A Waterfront - www.clocktowergallery.co.za - 1 August till 31 October 2017 *** 'Buzz-ted' - Almenkerk Wine Estate - www.art-at-almenkerk.com - 2 September 2017
  • 'paradise' - Maison Noir, Hout Bay - 2017 *** 'STAND' - Stellenbosch Outdoor Sculpture Trust - June 2017 till June 2018

 
No one should dare claim being in love with death unless acknowledging that little voice within, demanding simultaneously and outrageously that the very soul of that being is also smitten with and fascinated by life itself, even in its slenderest or minutest form.

Need we be reminded: “The roses are red with the matter that once reddened the cheeks of a child, the flowers bloom the fairest on last year’s battleground, the work of death’s finger cunningly wreathed over is at the heart of all things, even of the living. Death’s finger is everywhere. The rocks are built up of a life that was.” Olive Schreiner understood this cycle of death and life.

“Howard Roark laughed. He stood naked at the edge of a cliff… He looked at the granite. To be cut, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust on the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the sky.” Ayn Rand, expressing through Howard, understood the language of creation and the call of nature beckoning to be transformed.

Oscar Wilde understood its uselessness, yet need to be admired: “The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.”

And yet, here we are.

Izanne Wiid understands all of the above.

Working with found objects and raw materials, such as iron, rock, granite and marble, as well as wood, wax and resin, is at once as self-serving, medicinal and inspiring, as is the appreciation of the ultimate final art object.

The sensuality of admiring art is at the origin of our collective creative memory. The instinctive recognition of the barbaric, animalistic within the stripped potential of the object of her artwork(s) can unwittingly open a floodgate of unbridled and rampant “sense-ual” experiences.

And what is not to be admired through want of touch alone, of Izanne Wiid’s work. This artist does not try to explain, symbolise or translate anything through and by her art.

Her love of life as the cycle in its entirety, her observation and understanding of nature and the passion of her spirit, do not influence her to try to interpret and portray; it merely represents as it is presented.

Pure, raw, energetic, uncompromising, intrepid, never tactile in approach. She speaks as she is spoken to, she gives what has been given unto her, neither apology, translation or censorship can be expected.

Her sculptures inspire the urge to explore and savour the inherent taboo of reaching out and engaging, the daring thrill of claiming a piece for the personal experience: unfettered self-indulgence.

Stimulating, provoking, never ever dull…

Izanne Wiid obtained her BA (Hons) in Fine Art at the Faculty of Art and Design at the Manchester Metropolitan University in 2008. The subject of her dissertation in partial fulfilment for her degree was: “A transgressive, subjective, erotic journey of the flesh in sacrifice and love.”



“Sonja Janse van Rensburg”
 

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Izanne Wiid - Artist
 
 
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