I am trying to remember who you are
by
WAYNE VIVIER
30 April 2021
A rose is a rose is a rose is a rose.
- Gertrude Stein
'I guided you on Geryon Shall I do less now we are nearer God?'
- Dante's Divine Comedy
"How would I paint you? I would not be able to paint you entirely. I would have to paint something fragmented and incomplete. And there would be a lot of uncertainty. I would also only have access to that part of you that is in me, and hope that you would come through in some way. Could repetition help me with this? I imagine you to be a moving being, but paradoxically, because you are outside time and I perceive movement in time, you would be still too. So, I think painting is a good way in which to attempt this communion with you. It would have to be on more than one piece of board, probably many, and it would be a lifetime project, maybe requiring more than one lifetime. It would only ever be a glimpse or a taste of you, maybe just enough for me to remember who you are."
Wayne Vivier is an award-winning artist practising in Pretoria, South Africa. He was born in 1976 in Welkom and raised in Pretoria. After obtaining a B. Sc Computer Science at UNISA and working as a software developer for six years in Johannesburg, he returned to Pretoria to continue his art studies at Tshwane University of Technology where he obtained his M. Tech Fine Arts in March 2011. He has held seven solo exhibitions, participated in numerous curated exhibitions and national art competitions including, Sasol new signatures, ABSA l'Atelier, Thami Mnyele and State of the art gallery. He was awarded runner-up in the 'For the love of art' competition presented by Longstreet Art Lovers 1934 gallery in 2016. His work forms part of many private and corporate collections.
Wayne Vivier - Film image 40
Wayne Vivier
Film image #40
I see anger in the disruptive static, which lies in tension with the calm tranquility of the colour, form and content. I see a modern brutalism in tension with the real rhythms of life and the universe. I also see a kind of celestial map of destiny for the two figures on the river in the simulacral patterns that tower above them. Does the recognition of terror by intuition suggest something real?

Acrylic on block-mounted board
40cm x 40cm
SOLD
Wayne Vivier - Film image 41
Wayne Vivier
Film image #41
One of the most enduring images from Dante's Paradiso is heaven populated with saved souls which shine like lamps or stars. They coalesce around God forming a kind of stadium or galaxy all with one focus, and this is referred to by Christian mystic contemplatives, like Dante, as 'the mystic rose'. Each light serves to show some aspect of God and since God is infinite there is no end to what can be seen. One part of the poem struck me where the lights work together to form an image of an eagle. They animate the eagle and make it fly and swoop round in an arc over Dante. This ironically, surprisingly, describes a modern digital screen, advertising boards and the like which we see around us every day. Did these screens come into existence because of Dante's vision? Do these screens appeal to us because of a profound apparatus in us that can somehow remember heaven?

Acrylic on block-mounted board
40cm x 40cm
SOLD
Wayne Vivier - Film image 42
Wayne Vivier
Film image #42
There are areas in this painting where meaning lies in tension with abstraction. In the abstract field, meaning is fighting and striving to exist in my perception of the painting. When I view the painting, my mind tries to find pattern in the indecipherable code. Sometimes things start to emerge but I can never seem to resolve the meaning. I find myself contemplating things beyond that which can be articulated, the ineffable things that I can somehow sense or feel, but cannot think in words.

Acrylic on block-mounted board
40cm x 40cm
SOLD
Wayne Vivier - Film image 43
Wayne Vivier
Film image #43
Thus every nature moves across the tide
Of the great sea of being to its own port
Each with its given instinct as its guide
-- Dante Alighieri, Paradiso

I have translated this altered film image into a painting four times. I have made three smaller ones, and this large painting. During this process, different narratives and forms have emerged in the rhizomatic patterns above the two figures on the river. Images emerge and recede, carrying with them a corona, or aura of meaning. They oscillate in the networks of abstraction in mesmerizing unresolved tension. It is all too sublime and too complex to comprehend, but I can somehow intuitively sense and feel and experience things beyond description.

Acrylic on block-mounted board
100cm x 100cm
R 11 000
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Wayne Vivier - Film image 47
Wayne Vivier
Film image #47
This is my fourth repetition of this film image. Two protagonists approach an immense simulacrum. They approach an immense uncoded cloud of uncertain incomprehensible patterns. I read somewhere that turquoise is sometimes regarded as the colour of heaven and that Native Americans see it as the colour that connects heaven and earth. A piece of turquoise can look like a piece of the sky that has somehow solidified and fallen to the earth. This work speaks of the sublimity of approaching God, the Master, and submitting willingly to the consequential master-slave relationship. Whether or not this is a good thing depends on the goodness of God, for it is said that one will inevitably submit to something, the choice is merely to what or to whom.

Acrylic on block-mounted board
100cm x 100cm
R 11 000
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Wayne Vivier - Local image 19
Wayne Vivier
Local image #19
Initially painted from a photograph of the sky, this painting has taken on the appearance and reflection of a rippling pond. Its surface is like a mirror and it invites me to pass through into a different world that is more wonderous, larger and more solid than our modern world.

Acrylic on block-mounted board
60cm x 60cm
R 3 960
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Wayne Vivier - Local image #27
Wayne Vivier
Local image #27 or 'We must go deeper into greater pain'
Blue dominates in this painting of a garden graced with flowers. They reach upward, as if striving and grappling with their existence. The surface is ambiguous as it appears beaded with water or appears pixelated. The artificial pixels intertwine with the natural petals. The rigid pattern of the surface is in tension with the more emancipated pattern of the flowers.

Acrylic on block-mounted board
40cm x 40cm
R 1 760
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Wayne Vivier - Local image #28
Wayne Vivier
Local image #28, or 'A naked intent towards God'
I enjoy imagining the petals emancipating themselves from the pixellated grid of the 'screen'. The fecund vegetation is reaching out, pressing in, striving, searching and longing for something. The painting also strikes me in some ways like a sweet fizzy cooldrink, which creates a tension with the sincerity of the intent.

Acrylic on block-mounted board
40cm x 40cm
R 1 760
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Wayne Vivier - Local image 29
Wayne Vivier
Local image #29, or 'A soul returning to its maker'
I have been using repetition as a device lately. It highlights the subtle differences between the copies and the contingency within the artmaking process. When taken together, I wonder if these repetitions reveal the truth more? Is this a way of seeing in more dimensions? Do I get a better sense of what is real?

Acrylic on block-mounted board
40cm x 40cm
R 1 760
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Wayne Vivier - Local image 30
Wayne Vivier
Local image #30
I look up and see power lines which form a kind of barrier in that they resemble prison bars. A barrier protects but separates and this one lies between me and the great blue sky. A bird perches just on the other side of the barrier, a male cape sparrow, and makes me wonder if I am on the right side of this barrier. How does he live on that side? What does he know?

Acrylic on block-mounted board
50cm x 50cm
SOLD
Wayne Vivier - Local image 31
Wayne Vivier
Local image #31
The pervasive vertical pattern on the surface is like a text that speaks some unknown language. It speaks of a language that precedes and shapes our thought. This meta language, that functions mainly beyond our consciousness, precedes and shapes our reality. This pattern on the surface speaks of a text that makes all other text possible.

Acrylic on block-mounted board
50cm x 50cm
SOLD
Wayne Vivier - Out of doubt 3
Wayne Vivier
Out of doubt #3
From the millions of images in a feature film approximately three to four-hundred images are captured using a camera. The images are captured from a movie screen, television screen or computer screen. Each screen presents its own set of characteristics. The film screen, for example, is beyond the artist's control and therefore chance plays a larger role. The television screen, with its grainy, pixelated texture and fluorescent screen, emphasises the super-mediated nature of the image. The languid glow and high resolution in the liquid crystal display of a computer screen delivers a cleaner, more precise, clinical image.

Acrylic on block-mounted board
50cm x 50cm
R 2 750
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Wayne Vivier - Midsummer 6
Wayne Vivier
Midsummer #6
Landscapes are a repository of private and collective memories. Some things change faster than others and there is a tension between the old and new. Humanity's existence is put into perspective by the oldest of functions, such as the formation of clouds, the formation of the earth, rain and the growth of vegetation. As a person with relatively few years, it is sublime to face all this perspective.

Acrylic on block-mounted board
53cm x 40cm
R 2 340
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Wayne Vivier - Midsummer 8
Wayne Vivier
Midsummer #8
In the twilight, with the last rays of sun being caught far off by a cloud, the viewer stands in a field of grass and thorny shrubbery. This work is themed around loss and yearning to regain that loss. The deep blue band forms an ocean of separation between the viewer and his or her object of desire, which is represented by the nebulous, but beautifully luminous cloud. This object of desire is inaccessible and very far away and it is something not readily understood and does not lend itself to being resolved.

Acrylic on block-mounted board
53cm x 40cm
R 2 340
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Wayne Vivier - Midsummer 10
Wayne Vivier
Midsummer #10
The vertical format of this landscape indicates a concern for the spiritual. The sacred journey from the grassy earth below to the high vaults of the sky are included here. A sacred journey is one of transformation and the rough terrain of the land, the border of black trees and the dark clouds on the horizon speak of transformation that comes by fire and trial. These landscapes become a symbolic description and record of my walk through life in this world and of my transformation.

Acrylic on block-mounted board
53cm x 40cm
R 2 340
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Wayne Vivier - Midsummer 11
Wayne Vivier
Midsummer #11
The elements that make up this idyllic landscape all have in them something that would seem to threaten to end the continuity of its harmony. The bright blue sky can transform into a terrible impersonal infinity. The light meandering clouds seem to have a dark side as they are blocking the sun and twisting in turmoil. The shady tree has an artificial electronic quality to it and sadly stands apart from the rest of the trees that form a dark band on the horizon. And, the lush green grass with flecks of gold cascading down from left to right ends suddenly in a cliff-like way before a yawning abyss. Everything seems less than perfect. There is a tension between the halcyon pastoral scene and that which threatens to end it. Any landscape is a condition of the spirit and reflects deeply who we are.

Acrylic on block-mounted board
53cm x 40cm
R 2 340
Click here for purchase enquiry
Wayne Vivier - Midsummer 12
Wayne Vivier
Midsummer #12
The vertical format of this landscape indicates a concern for the spiritual. The sacred journey from the grassy earth below to the high vaults of the sky are included here. A sacred journey is one of transformation and the rough terrain of the land, the border of black trees and the dark clouds on the horizon speak of transformation that comes by fire and trial. These landscapes become a symbolic description and record of my walk through life in this world and of my transformation.

Acrylic on block-mounted board
53cm x 40cm
R 2 340
Click here for purchase enquiry
Wayne Vivier - Film image 8
Wayne Vivier
Film image #8, or 'A thousand deliberations'
Beyond the rough grass in the foreground, lies the pure white smooth sand of the shore and the great blue sea. Two figures are making their way through the tangled mass towards a black boat beached on the sand (their medium to freedom). Above the boat is a cloud that catches the sunlight, suggesting a divine calling to those two adventurers below. It isn't clear as to whether the figures are answering this call, or frittering their time away among a thousand deliberations.

Acrylic on block-mounted board
27cm x 60cm
R 1 790
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Wayne Vivier - Film image 3
Wayne Vivier
Film image #3
Between the viewer and the natural landscape beyond, is a barrier consisting of petrol pumps and metal poles, which represent the artificial modernised world. The imposing position of these artificial objects is causing the viewer's attention to be diverted from the natural landscape. But, the artificial objects are out of focus, indicating an attempt by the viewer to see beyond this imposing barrier. But is this an ironic effort? What lies beyond the oppressive barrier? Deep into the horizon, barely visible and a very long way away from the viewer one can barely make out what could possibly be the towers of the True City.

Acrylic on block-mounted board
23cm x 41cm
R 1 040
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Wayne Vivier - Film image 38
Wayne Vivier
Film image #38, or 'Good girl'
In a very pixellated and mediated field of passionate reds, purples and blues, a father speaks words of affirmation over his little girl. This work is an attempt to embody the ecstasy of divine connection, and the frustration and longing as a result of its failure to do so. The human imperfection in the brushstrokes cause a sense of separation and alienation. But, the work also speaks of the possibility of moments of beauty, in and out of time, however fleeting.

Acrylic on block-mounted board
30cm x 30cm
SOLD
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