Selected Works

Clive van den Berg
Lovers, 2016
Wood and oil colour
45 x 30 x 20 cm
Clive van den Berg
Untitled (blue shards), 2018
Oil on canvas
Work: 200 x 150 x 4.5 cm
Clive van den Berg
Concealed Geography, 2008
Wood, Wax And Pigment
31.5 x 26 x 8 cm
Clive van den Berg
Frail Geography, 2008
Wood, Wax And Pigment
Work: 59 x 40 x 22 cm
Clive van den Berg
Geographic Dream, 2008
Wood, Wax And Pigment
40 x 30 x 23 cm
Clive van den Berg
Gland Tree, 2008
Wood, Wax And Pigment
Work: 24 x 24 x 6 cm
Clive van den Berg
Losing Faith, 2008
Wood, Wax And Pigment
47 x 16 x 32 cm
Clive van den Berg
Love’S Ballast- Monoprint Series II, 2003
Monoprint
36 x 49,5cm
Clive van den Berg
Love’S Ballast V, 2003
Monoprint
36 x 49.5cm
Clive van den Berg
Love’S Ballast XVI, 2003
Monoprint
36 x 49.5cm
Clive van den Berg
Love’S Ballast XVII, 2003
Monoprint
36 x 49.5cm
Clive van den Berg
Love’S Ballast XX, 2003
Monoprint
36 x 49.5cm
Clive van den Berg
Skin , 2006
Wood, Pigment
320 x 140 x 12cm
Clive van den Berg
Sleepers With Room For Ghost, 2008
Wood, Wax And Pigment
20 x 25 x 11 cm
Clive van den Berg
Broken Syntax, Land XI, 2011
Oil on canvas
60 x 45.5 cm
Clive van den Berg
Broken Syntax, Land XII, 2011
Oil on Canvas
150 x 230 cm
Clive van den Berg
Broken Syntax, Land VIII, 2011
Oil on canvas
101 x 75 cm
Clive van den Berg
Broken Syntax, Land XVI, 2011
Oil on canvas
200 x 150 cm
Clive van den Berg
Sinkhole (Underneath series, number VI), 2014
Oil on canvas
Work: 200 x 200 x 5 cm
Clive van den Berg
Clutter Of The Past, 2008
Wood, Wax And Pigment
Variable Dimensions
Clive van den Berg
In Memorium - they threw him, 2016
Wood, wax and pigment on metal base
104 x 70 x 40 cm
Clive van den Berg
A pile of stones , 2016
Installation: Wood, Steel, and Oil Colour
430 cm x 100 cm diameter
Clive van den Berg
Pink bearing orange, 2016
Wood and oil colour
130 x 27.5 x 29.5 cm
Clive van den Berg
Holding the Archive, 2016
Wood and oil colour
127 x 27 x 28 cm
Clive van den Berg
Figure in Disguise I, 2016
Wood and oil colour
92 x 28 x 30 cm
Clive van den Berg
Bed at Rest, 2019
Ink on paper

Clive van den Berg
African Landscape (Witness), 2019
Oil on canvas

Clive van den Berg
Landscape Above, Below I, 2019
Ink on Paper

Clive van den Berg
Landscape Above, Below II, 2019
Ink on paper

Clive van den Berg
Landscape Above, Below V, 2019
Ink on paper

Clive van den Berg
Landscape Above, Below VI, 2019
Ink on paper

Clive van den Berg
Landscape Above, Below X, 2019
Ink on paper

Clive van den Berg
Figurative Being Man IV, 2019
Ink on paper

Clive van den Berg
Figurative Being Man V, 2019
Ink on paper

Clive van den Berg
Landscape Above, Below XII, 2019
Ink on paper

Clive van den Berg
Figurative Being Man I, 2019
Ink on paper

Clive van den Berg
Figurative Being Man II, 2019
Ink on paper

Clive van den Berg
Small Bed at Rest, 2019
Ink on paper

Biography

Clive van den Berg, artist, curator and designer, works on his own and in collaboration with colleagues in a collective called trace, whose primary activities are the development of public projects. He has had several solo exhibitions in South Africa, and his work is regularly exhibited abroad. His public projects have included the artworks for landmark Northern Cape Legislature and, since he has joined the trace team, museum projects for the Nelson Mandela Foundation, Constitution Hill, Freedom Park, the Workers Museum, The Holocaust and Genocide Centre and many other projects.

Van den Berg has much experience working on large-scale institutional projects with teams representing diverse constituencies: urban planners and policy makers, architects, landscape designers, museum curators, historians, community liaison officials and representatives of local and national governments. In the Northern Cape, for example, where he worked with the Luis Ferreira da Silva architects, he pioneered a new strategy for integrating forms of the local landscape and indigenous aesthetics into the overall building design, while also training local artisans as part of a skills transference project aimed at long-term sustainability. The result is a world-renowned and uniquely South African state edifice: a monument to the people of the Northern Cape.

At Constitution Hill, his design ethos strove to fuse old materials with new curatorial strategies: to preserve individual and collective memory about the prisons and experiences that people had in them, while also educating future publics about the place of the prisons in South African history, and creating aesthetic forms appropriate to the institution.

In contemporary South Africa, much public institutional design is aimed at the cultivation of memory and the memorialization of the past. Van den Berg’s integrative approach to art, design and architectural construction has allowed him to produce spaces in which previously unheard or even suppressed narratives can be articulated. His design work on the exhibitions for the Mandela Foundation have been oriented toward this end: in showcasing materials from the Foundation’s archive, he has developed exciting new formats and vocabularies in which to reveal a past that had hitherto remained largely unknown, making it accessible to a new generation of South African citizens.