Willem Boshoff / Oh My Word!

Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff / Oh My Word!
11 October - 08 November 2014
Installation View
Willem Boshoff
Death of African Art , 2014
Collection of wooden curios (African figures, masks, Elephants, Rhinoceros etc.), cut up into small pieces and mounted on a discarded plywood base.
210 x 110 cm
Willem Boshoff
OH!, 2014
Thermobonded felt: Polypropylene (30%), cotton (35%) and acrylic (35%). small plastic dressed-up dolls
180 x 336 cm
Willem Boshoff
Spoondance, 2014
37 Tarnished silver spoons mounted on a used plywood base, Q-bond adhesive, nuts and bolts.
166 x 113.5 x 10cm
Willem Boshoff
Homage to Kurt Schwitters, 2013
Wood and various sands
250 x 128.5cm
Willem Boshoff
Dark Xylophone , 2014
144 Sculptures black wooden sticks (Dalbergia melanoxylon), fabric, steel
215 x 67 x 71cm
Willem Boshoff
Speechless, 2014
32 old dental mouthcasts on handmade paper
Work: 188 x 90 cm Frame: 219 x 121 x 10 cm
Willem Boshoff
Landlocked, 2014
Broken porcelain shards, 2100 industrial seals/locks, extruded acrylic, used plywood base-boards
151.5 x 250.5 x 13.5cm
Willem Boshoff
Ambush, 2014
Small wooden blocks, snippets from large twigs and branches
308 x 188 x 5cm
Willem Boshoff
Tipping the Scale II- Astragalomancy , 2014
Found objects: a brass laboratory scale with detachable front panel in a case of glass and Philippine mahogany (Shorea negrosensis), fool's gold, sheep's knucklebones used in African divination and a base of Partridge wood (Melittia Stuhlmannii) from Mozambique
46 x 30 x 46cm
Willem Boshoff
Self Portrait 2014, 2014
Lambda print mounted on acrylic, ed of 3 + 2 AP
Image 120 x 180, Paper size 126 x 186cm
Willem Boshoff
NO!, 2014
Plywood splinters, plywood, 24 blue mapping pins. Double glazed: extruded acrylic
199.5 x 125.5 x 14cm
Willem Boshoff and Johan Thom
Elephant Peepsite, 2014
Etching by Johan Thom with lines made up of alphabet beads on extruded acrylic super
220 x 127.5cm
Willem Boshoff
Word Woes, 2014
Etching, ed of 40
137 x 110cm
Willem Boshoff
Earth Signal, 2014
Single Channel Video, ed 10 + 2 AP
9 minutes duration, looped
Willem Boshoff
Closed Ballot III, 2014
wood (variable), glass, sandblasted text. 2014; third set in series of 3, in Partridge Wood
44 x 54 x 18.5cm
Willem Boshoff
Labia Dentata, 2014
Rusted steel base, 21 used animal traps, also called gin traps, including solid blade spring traps, thin jaws opening traps, broad jaws opening traps and waverley jaws; with a projection
247 x 870cm weight -+100kg
Willem Boshoff
Earth Signal I, II, III triptych (Chalk Lines, Stacked Wood and White Ash), 2014
Photographic prints x 3
297 x 528mm

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff / Oh My Word! - Installation View

11 October - 08 November 2014

Willem Boshoff

Death of African Art

Willem Boshoff

OH!

Willem Boshoff

Spoondance

Willem Boshoff

Homage to Kurt Schwitters

Willem Boshoff

Dark Xylophone

Willem Boshoff

Speechless

Willem Boshoff

Landlocked

Willem Boshoff

Ambush

Willem Boshoff

Tipping the Scale II- Astragalomancy

Willem Boshoff

Self Portrait 2014

Willem Boshoff

NO!

Willem Boshoff and Johan Thom

Elephant Peepsite

Willem Boshoff

Word Woes

Willem Boshoff

Earth Signal

Willem Boshoff

Closed Ballot III

Willem Boshoff

Labia Dentata

Willem Boshoff

Earth Signal I, II, III triptych (Chalk Lines, Stacked Wood and White Ash)

Text,context, subtext and pretext are prime areas of concern in the new solo exhibition by Willem Boshoff titled Oh My Word!

As the title implies, taking ownership of one’s actions also involves possessing the power to describe. Beyond the exclamation though we have the simple truth of Ludwig Wittgenstein’s remark, ‘Words are Deeds’.

The exhibition in its entirety addresses the question of whether words give us an acceptable reason to take action, or whether words themselves constitute action.

Fracking, extreme militancy, exploitation of people and land — all relevant issues that give rise to discussion and fury — are pictured in stratified sculptural compositions that combine a simple word or statement with found objects bearing some relation to the themes.

The mammoth site specific land intervention Earth Signal is consciously placed between the remnants of bushman rock art and a site of fracking in the Karoo. Here, in an arid landscape, Boshoff spelled out the words ‘piss off’ in stacks of burning wood.

The work reflects a recurring response that Boshoff received to a question he asked many people: ‘what would the earth say if it could speak back?

According to Boshoff, the reply was, ‘piss off’…or worse.

Now presented on video, the 240 square-metre Earth Signal was filmed with a helicopter drone, with six propellers, hovering 50 metres in the sky. The work took a week to construct out of 160 large bags of wood and 60 bales of straw. The burning involved 110 litres of fire gel and a drum of fuel.

When asked about the motivation for his action Boshoff said, ‘It’s about farting against thunder. Everybody talks about “stop fracking” – I just keep quiet and I go and burn a big thing and I make some trouble, real trouble. And then nothing happens.’

Other topical themes include war in the Middle East. In the collage Human Shield the word is spelled out in shards of broken crockery. Over the word, on a layer of clear Perspex, there are broken metal seals once used to secure armoury and other valuable items. This appropriation of domestic objects that no longer provide any safeguard evokes the remnants of war, both material and corporeal.

The collage Death of African art features a wooden base irreverently dotted with cut-up African craft objects, the kind of which one would find in the ubiquitous tourist market place. The composition of different coloured chips spells out the word ‘Yuck’, aimed at an industry that subsists on the mass production of supposedly traditional artefacts.

Explorations of democratic values, an abstract portrayal of wild game hunting, objectification of the female body and word-research into the limitlessness of language reveal Boshoff to be an artist who has mastered a complex visual and verbal language that collides with the elements it uses to communicate.