Wayne Vivier
Wayne Vivier's work consists out of paintings inspired by exotic images from film and local images from his more immediate environment. The exotic and local images that he perceives are all mediated to some extent, and thus he believes that he often unknowingly labours in an ocean of untruth and uncertainty by the accumulated effects over time of this process. The act of painting is an ironic attempt at the redemption of the false content, or the 'broken images' that have formed.
The process of creating a film image or a photograph is very mechanical while the process of painting is very human and Vivier hopes that by translating the mechanical image into a human hand-made painting that some redemption may take place, and that some grain of truth will become embodied in the work as he invests his human-ness into it, and as he consciously or unconsciously finds pattern in the seemingly senseless experience of modern life.He hopes that the painting will take on something more than just the spreaded paint and that there will be a transformation into something that can be perceived as valuable
Wayne Vivier is an award winning artist practicing 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 six solo exhibitions, participated in numerous curated exhibitions and national art competitions including, Sasol new signatures, ABSA l'Atelier and Thami Mnyele.
All the artworks are for sale.
If you are interested in purchasing any of the works, please email us at artlovers1932@gmail.com
or click for purchase enquiry below any specific artwork
The prices exclude shipping
and arrangements can be made for paying off any purchases, interest free, over a reasonable period of time.
Wayne Vivier - The partitive particle
Wayne Vivier
"The partitive particle"
2013
Mystery and silliness can go a long way to subvert a rigid world system. This piece subverts by being logically ambivalent and rationally uninformed. A crucial step in going beyond preconceived boundaries. On the right a man atop a ladder makes an unknown gesture towards an artificial erection on the opposite side and some sort of mysterious pattern in the sky evokes a sense of outside influence.

Acrylic on block-mounted board
54cm x 122cm
R 7 250
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Wayne Vivier - Film image 15 Wayne Vivier - Film image 15 detail
Wayne Vivier
"Film image #15"
and detail
2015
In this urban landscape an aged man is making his way across the frame from left-to-right, giving a sense that he is 'going with the flow', living out his grey utilitarian bourgeois everyday existence. Behind him are blurred figures that have morphed into strange objects consisting out of repetitions of themselves, suggesting uncertain identity. The buildings in the background are also blurred and repeated and as a result the figures and inanimate objects become more difficult to distinguish from each other, as if the figure's identities and their environment are inextricably intertwined.

Acrylic on block-mounted board
40cm x 60cm
R 2 640
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Wayne Vivier - Film image 4 Wayne Vivier - Film image 4 detail
Wayne Vivier
"Film image #4" or 'TIT JOB'
and detail
2013
This epic painting is structured in time with the foreground depicting the present and the past receding into the background. The back of a car forms an imposing smug mechanical beast alluding to modernisation. It seems to want to breach the boundary of the painting's surface and invade another world not fit for it. The number plate can be read as 'TIT JOB', which suggests themes of self indulgence and hedonism, much like Hieronymus Bosch's famous alter piece 'Garden of Earthly delights' (1490-1510). The exhaust pipe expels a cloud of smoke and pollution creating a film of preconception which subtly transforms what we see into a false 'reality'. Towards the edges of the painting we begin to glimpse what lies behind this screen. At the bottom left, I see a maiden at a body of calm pure water, perhaps Beatrice in Paradise at the river Lethe in Dante's Purgatorio (1320). The bleeds on the edges are like fractal blooms forming an unintelligible cipher, suggesting primal ideas, thoughts and solutions that are now perhaps lost to us.

Acrylic on board
48cm x 75cm
Framed
R 2 990
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Wayne Vivier - Film image 32
Wayne Vivier
"Film image #32" or 'Good boy'
2018
Words of affirmation from a higher being come at a rush for this good ram. His passion is under control for now. His startled heart is responding gaily and beating obediently. All his emotion compressed and concentrated to the bottom frame by the weight of what lies above. A world of significance and grounding purpose lies in the short distance between the giving mouth and his receiving ear.

Acrylic on block-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Out of doubt 3
Wayne Vivier
"Out of doubt #3"
2012
Acrylic on block-mounted board
50cm x 50cm
R 2 750
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Wayne Vivier - Out of the village 8
Wayne Vivier
"Out of the village #8"
2012
Acrylic on block-mounted board
76cm x 140cm
R 11 700
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Wayne Vivier - Film image 27 Wayne Vivier - Film image 27 detail
Wayne Vivier
"Film image #27"
with extrapolation and simulacra
2017
Transcript from video: I think this painting has immediate appeal, it is warm, fuzzy and comforting in colour and its grassy/furry texture. But also, it has a kind of artificial pixellated 'computer game' quality to its surface, and that is when it starts to draw me in, into its web, into its complexity.
Does this painting reflect something about life? Well, I would say life is full of tension. Disparate things with their own forces pushing and pulling in different directions. Tension between what 'is' real and what 'wants' to be real, or tension between the way things are and the way we wish them to be. So, yes, I think I see that in this painting and it does say something about that aspect of life.

Acrylic on block-mounted board
73cm x 122cm
R 9 790
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Wayne Vivier - Out of the village 4
Wayne Vivier
"Out of the village #4"
2012
Acrylic on block-mounted board
76cm x 140cm
R 11 700
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Wayne Vivier - Film image 1
Wayne Vivier
"Film image #1"
2013
The viewer is positioned on the outside looking in. Two trees on either side seem to threaten the idea of entering the gates. The mansion beyond the coutyard seems like a desirable place to be, since it is cold and snowy out. A sense of longing is created and the idea of its satisfaction. A mansion speaks of things like rich aristocratic families and of inheritance. Does this mansion belong to the viewer? Is he or she part of this family? Has he or she finally come home from a long and wearisome adventure?

Acrylic on block-mounted board
23cm x 41cm
R 990
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Wayne Vivier - Out of the village 6 Wayne Vivier - Out of the village 6 detail
Wayne Vivier
"Out of the village #6"
and detail
2012
Acrylic on block-mounted board
76cm x 140cm
R 11 700
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Wayne Vivier - Film image 14 Wayne Vivier - Film image 14 detail
Wayne Vivier
"Film image #14"
and detail
2015
In this urban landscape a young man on a journey makes his way accross the grey asphalt. He is walking downhill and from left to right, suggesting that he is 'going with the flow' for now. His legs however are not well defined and blurred, indicating uncertainty creeping into his easy going demeanour. At this point, he still mostly retains his integrity, unlike the the figures and objects in the background which have transformed into strange objects consisting out of more exaggerated blurs and repetitions of themselves. The living figures are almost indistinguishable from the inanimate objects and have become inextricably intertwined with their environment. The resulting shapes and forms are haunting and spiritually charged, sometimes suggesting ghosts or otherworldly creatures, or sometimes suggesting totem poles.

Acrylic on block-mounted board
40cm x 60cm
R 2 640
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Wayne Vivier - Film image 48 49 50 51
Wayne Vivier
"Film image #48, #49, #50, #51"
2021
Acrylic on block-mounted board
30cm x 30cm
R 990 each
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DETAILS FOR EACH PAINTING BELOW
Wayne Vivier - Film image 48
Wayne Vivier
"Film image #48"
2021
A good painting says more that one thing simultaneously. There are positive and negative narratives. When the painting as object is taken away the narratives still remain. Therefore, much of the reading resides in the reader. The painting object is merely a key.

Acrylic on block-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Film image 49
Wayne Vivier
"Film image #49"
2021
Can you tell that these images are a lie? Can you see where the film image ends and the simulacra begins? Is there anything 'real' or authentic here? Yet, I sense something authentic being 'presented', rather than something being 'represented', and that what is being presented cannot be found anywhere else. I imagine that ironically, poetically, beautifully, sublimely, redeemingly, something authentic emerges from the simulacra.

Acrylic on block-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Film image 50
Wayne Vivier
"Film image #50"
2021
The obscure mover moves the boat. It glides easily over the water sending small waves across the surface to mingle with the other waves.
Alone but not lonely
The small focal point is surrounded by relatively large areas of framing which support, inform and contextualise it.

Acrylic on block-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Film image 51
Wayne Vivier
"Film image #51"
2021
As I was saying every one always is repeating the whole of them. As I was saying sometimes it takes many years of listening, seeing, living, feeling, loving the repeating there is in some before one comes to a completed understanding. This is now a description, of such a way of hearing, seeing, feeling, living, loving, repetition.
(Gertrude Stein)

Acrylic on block-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Local image 19
Wayne Vivier
"Local image #19"
2019
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 box-mounted board
60cm x 60cm
R 3 960
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Wayne Vivier - Midsummer 10 Wayne Vivier - Midsummer 10 detail
Wayne Vivier
"Midsummer #10"
and detail
2015
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 2 330
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Wayne Vivier - Midsummer 11 Wayne Vivier - Midsummer 11 detail
Wayne Vivier
"Midsummer #11"
and detail
2015
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 2 330
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Wayne Vivier - Midsummer 8 Wayne Vivier - Midsummer 8 detail
Wayne Vivier
"Midsummer #8"
and detail
2015
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 2 330
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Wayne Vivier - Film image 39
Wayne Vivier
"Film image #39"
2019
In a cold snowy and desolate landscape, a struggling shepherd herds his sheep uphill and from right-to-left across the bottom of the painting, indicating a process that is traumatic, effortful and going against the flow. This dramatic content is attenuated by the use of consoling blues and a rythmic texture. I find that this form resonates with me. In an article he wrote about Baudelaire, TS Eliot refers to a struggle from the natural to the spiritual that should be undertaken.
Acrylic on box-mounted board
30cm x 30cm
R 990
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Wayne Vivier - Film image 43 Wayne Vivier - Film image 43 detail
Wayne Vivier
"Film image 43"
and detail
2020
Thus every nature moves accross 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 detail
Wayne Vivier
"Film image #47"
and detail
2021
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 box-mounted board
100cm x 100cm
R 11 000
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Wayne Vivier - Midsummer 21
Wayne Vivier
"Midsummer #21" or Family portrait
2017
In this work, I have mixed landscape painting with portraiture. As with all my midsummer pieces, this painting is themed around family, origin and context. My attitude towards my environment is paradoxical, or filled with tension. At times I have a protective attitude, where I instinctively protect myself from a deep-seated notion of danger, and that is contrasted with an equally profound affinity to nature.

Acrylic on box-mounted board
35cm x 120cm
R 4 620
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Wayne Vivier - Somewhere in the Mediterranean
Wayne Vivier
"Somewhere in the Mediterranean"
2013
The container that the figure lies within represents his metaphysical enclosure. What lies beyond this boundary are the thoughts that he is not capable of thinking yet, the unknown. The figure patiently and enquiringly peers out of the enclosure and tries to think the unthinkable.

Acrylic on box-mounted board
54cm x 122cm
R 7 250
SOLD
Wayne Vivier - Film image #21
Wayne Vivier
"Film image #21"
2017
I chose a square format here to evoke a sense of womb-like comfort. And in this space we encounter a woman holding something, a mysterious object, 'the unfathomable'. It indicates her role to undermine what appears as 'reality'. While her presence can be traumatic, without her, there is no hope of seeing beyond falsity that has become 'naturalized' and seen as the truth.

Acrylic on block-mounted board
50cm x 50cm
R 2 750
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Wayne Vivier - Film image #28
Wayne Vivier
"Film image #28"
2018
This painting can be seen as a postmodern image of Adam and Eve outside the Garden of Eden. The brushwork is loose indicating uncertainty in the construction of the their figures and their environment. The surface has an electronic or printed quality acknowledging the effect of the modern era on their identities and indicating their simulacral and unreal state. Adam seems to be apologetically and painfully revealing himself to Eve. In the physics of this painting it is possible to see through the outer skin and into the characters. One can see their ineffable stains and monsters within. However, a graceful and redeeming light covers them.

Acrylic on box-mounted board
40cm x 40cm
R 1 760
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Wayne Vivier - Local image 21 22 23 24
Wayne Vivier
"Local image #21, #22, #23, #24"
2019
'Pareidolia' is recognising pattern in random arrangements. For example, seeing a face in a cloud. This is a very modern, or scientific approach. It is good example of how science secularises, 'sanitises' or 'sterilises' our perception. Is it a good or bad thing? I don't know. Probably both.

Acrylic on box-mounted board
each 15cm x 15cm
R 990 for the set of four
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DETAILS FOR EACH PAINTING BELOW
Wayne Vivier - Local image 21
Wayne Vivier
"Local image #21"
2019
Acrylic on box-mounted board
15cm x 15cm
R 250
Click here for purchase enquiry
Wayne Vivier - Local image 22
Wayne Vivier
"Local image #22"
2019
Acrylic on box-mounted board
15cm x 15cm
R 250
Click here for purchase enquiry
Wayne Vivier - Local image 23
Wayne Vivier
"Local image #23"
2019
Acrylic on box-mounted board
15cm x 15cm
R 250
Click here for purchase enquiry
Wayne Vivier - Local image 24
Wayne Vivier
"Local image #24"
2019
Acrylic on box-mounted board
15cm x 15cm
R 250
Click here for purchase enquiry
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All the artworks are for sale.
If you are interested in purchasing any of the works, please email us at artlovers1932@gmail.com
or click for purchase enquiry below any specific artwork
The prices exclude shipping
and arrangements can be made for paying off any purchases, interest free, over a reasonable period of time.
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