Jessica Webster / Wisteria

Jessica Webster / Wisteria
22 April - 03 June 2017
Installation View
Jessica Webster
Untitled: Bobby, 2017
Wax and oil on canvas
Work: 280 x 130 cm
Jessica Webster
Untitled: Mia, 2017
Wax and oil on canvas
Work: 280 x 130 x 8 cm
Jessica Webster
Untitled: Claire (I - IV), 2017
Wax and oil on canvas
Each 115 x 130 cm; the set 230 x 260 cm
Jessica Webster
Untitled: Grace, 2017
Wax and oil on canvas
Work: 100.5 x 74 x 4.5 cm
Jessica Webster
Untitled: Janice - diptych, 2017
Wax and oil on canvas
115 x 160 cm
Jessica Webster
Untitled: Elizabeth (I & II) - diptych, 2017
Wax and oil on canvas
35 x 80 cm
Jessica Webster
Untitled: Olivia (ll), 2017
Wax and oil on canvas
115 cm x 85 cm
Jessica Webster
Untitled: Amelia (I & II) - diptych, 2017
Wax and oil on canvas
Work: 60 x 120 cm
Jessica Webster
Untitled: Chloe, 2017
Wax and oil on canvas
70 x 80 cm
Jessica Webster
Untitled: Sadie , 2017
Mixed media on canvas
60 x 80 cm
Jessica Webster
Untitled: Sophie, 2017
Wax and oil on canvas
set of 9 - 180 cm x 126 cm
Jessica Webster
RockPaperScissors I, 2016
Oil paint and wax on silkscreen cotton duck, stretched
Work: 70 x 70 cm
Jessica Webster
Untitled: Sylvia, 2017
Wax and oil on canvas
48 x 35 cm
Jessica Webster
Untitled: Alexandra - diptych, 2017
Wax and oil on canvas
Work: 150 x 181 cm
Jessica Webster
Untitled: Emma, 2017
Wax and oil on canvas
120 cm x 90 cm
Jessica Webster
Untitled: Layla – diptych, 2017
Wax and oil on canvas
Work: 150 x 180.5 x 4.7 cm
Jessica Webster
Untitled: Emily, 2017
Wax and oil on canvas
Work: 60 x 80 cm
Jessica Webster
Georgian Pindrop II, 2016
Oil paint and microcrystalline wax on canvas
130 x 160 cm
Jessica Webster
Untitled: Stella (triptych), 2017
Mixed media on canvas
60 x 120 cm
Jessica Webster
Untitled: Olivia (l), 2017
Wax and oil on canvas
115 cm x 115 cm
Jessica Webster
Slip, 2016
Oil paint and wax on digital prints, stretched
48 x 35 cm
Jessica Webster
Untitled: Amelia (III), 2017

60 x 60 cm
Jessica Webster
Untitled: Penny, 2017
Oil on canvas
Frame: 38 x 54 x 4.5 cm
Jessica Webster
Untitled: Isla, 2017
Wax and oil on canvas
Work: 33.5 x 26 x 7.5 cm
Jessica Webster
Untitled: Caroline, 2017
Wax and oil on canvas
85 x 115 cm
Jessica Webster
Where to my lovely, 2017
Wax and oil on canvas
Work: 34 x 35 x ea cm
Jessica Webster
Untitled: Amber, as a Floating Signifier - triptych, 2017
Oil on canvas
200 x 310 cm

Jessica Webster / Wisteria - Installation View

22 April - 03 June 2017

Jessica Webster

Untitled: Bobby

Jessica Webster

Untitled: Mia

Jessica Webster

Untitled: Claire (I - IV)

Jessica Webster

Untitled: Grace

Jessica Webster

Untitled: Janice - diptych

Jessica Webster

Untitled: Elizabeth (I & II) - diptych

Jessica Webster

Untitled: Olivia (ll)

Jessica Webster

Untitled: Amelia (I & II) - diptych

Jessica Webster

Untitled: Chloe

Jessica Webster

Untitled: Sadie

Jessica Webster

Untitled: Sophie

Jessica Webster

RockPaperScissors I

Jessica Webster

Untitled: Sylvia

Jessica Webster

Untitled: Alexandra - diptych

Jessica Webster

Untitled: Emma

Jessica Webster

Untitled: Layla – diptych

Jessica Webster

Untitled: Emily

Jessica Webster

Georgian Pindrop II

Jessica Webster

Untitled: Stella (triptych)

Jessica Webster

Untitled: Olivia (l)

Jessica Webster

Slip

Jessica Webster

Untitled: Amelia (III)

Jessica Webster

Untitled: Penny

Jessica Webster

Untitled: Isla

Jessica Webster

Untitled: Caroline

Jessica Webster

Where to my lovely

Jessica Webster

Untitled: Amber, as a Floating Signifier - triptych

Goodman Gallery Cape Town
22 April – 24 May 2017

As a ‘disabled’ woman I am thrust outside the garden gate. Sitting quietly, I peer through the foliage into that fluorescent place, that world of lithe potency, but anxious performativity, that I once inhabited. Jessica Webster

Wisteria – Jessica Webster’s second solo exhibition at Goodman Gallery – straddles personal and critical reflections on the category ‘white woman’ as the term manifests in a South African context.

The title of the exhibition refers to the non-indigenous garden flower often planted along boundary walls and garden gates in South Africa as a borrowed expression of beauty from the European garden. Phonically, it evokes the term ‘hysteria’, which Freud associated with deep psychological repression and neurosis in Western women.

For Webster, ‘stereotypes assigned to the white woman as both delicate victim and threatening provocateur have resulted in the containment of such figures to walled-in, protected settings throughout history, such as the safe South African suburban garden’.

As a contemporary painter, Webster notes that this dynamic manifests in the European history of painting. In her new body of work, she references early European Modernist painting in which the white woman features as an ethereal complement to the sanctified garden scene.

Working with an awareness of the politicised South African garden space, Webster references the formal qualities of surface and composition specific to Claude Monet and Jean-Édouard Vuillard’s garden images through which she explores the reproduction of the ‘white woman’ as painterly surface.

The artist’s creative process reflects her conceptual thrust. In the paintings on show, she begins with found photographs that capture generic South African suburban scenes, such as pools and lawns, and paints similar imagery over them using oil paint and wax – so that painting and photograph often seem to flow into each other. Applied very thickly in areas while scraped away in others, the painted imagery becomes abstract, pointing to the highly constructed nature of the white woman stereotype.

For Webster, this stereotype can be seen as either the cause or effect of a threat: ‘If a white woman is contained by these flowery surfaces, is it because she is a vulnerable object, or do these symbols serve as a defence against what she may really represent?’

The material handling of the paint and the palimpsestic approach to photography and painting create a sense both of vulnerability and threat: the paintings shimmer, but also descend into visceral and dark aspects.

Wisteria continues the thread of critical self-engagement that characterised Webster’s previous solo show, Murderer (2015), with her own complicity in the greater macrocosm of violence in South Africa. The painted surface raises a question of where this violence comes from: ‘Is violence being done to these precious and sanctified spaces of the white female, or is violence an inherent part of how these spaces exclude others?’ she asks.

Jessica Webster is in the process of completing a PhD in the Philosophy of Painting at the University of the Witwatersrand, Johannesburg. In 2006, she survived an act of extreme violence in a shooting that left her paralysed from the waist down. Her practice has since evolved, guided by a heightened sensitivity to painful but moving life experiences that can impair but also empower, by offering an alternative perspective on the everyday. In 2015, Webster was awarded the Oppenheimer Memorial Trust as well as the Mellon Postgraduate Mentoring Programme award for her work in painting and academia. Her work is in private and public collections, such as the Johannesburg Art Gallery and MTN Collections. Webster was born on the East Rand in 1981, and raised on the mines of the Free State and in Benoni.

Jessica Webster

Jessica Webster (b. 1981) was raised on the mines of the Free State and in Benoni. From a young age her proliferate painting and drawing practice was recognised as provoking the stranger qualities of the everyday: at sixteen, she sold her first major painting to the MTN Gallery in 1997. Webster entered Michaelis School of Fine Art in 2002 where she studied painting under established painters Malcolm Payne and Virginia MacKenny, attaining the Judy Stein Prize for painting upon graduation in 2005, and coming first in her class for academia and practice. In 2006, Webster survived an act of extreme violence in a shooting which left her paralysed from the waist down. Within six months of the shooting, she was being wheeled from hospital into Master’s supervision and mentorship with Penny Siopis at the University of the Witwatersrand, which resulted in her first solo show in 2009 at David Krut Projects in Johannesburg. 

The show met with great acclaim: the Johannesburg Art Gallery acquiring the centrepiece painting of the exhibition and the bulk of the work being sold to experienced collectors. Art critic Michael Smith described her work in Mail & Guardian (2009) as ‘light years ahead of the simply sensational’. At the same time, Webster embarked on an in-depth study of painting and philosophy for her Master’s degree that has resulted in the expected fulfilment of her PhD in philosophy and painting in 2017. The relationship between writing and practice has been an intensive aspect of Webster’s career thus far, which has gained her critical recognition in the form of awards from both the Oppenheimer and Mellon Foundations. In 2013, Webster was assigned as part of the Goodman Gallery’s stable of artists, upon which they have published a number of her creative writings in 2013 and held her first solo show with the gallery in 2015. Referring to the intensity of the affect from the show, art critic Sylvia McKeown writes that ‘Some objects are steeped in emotion that is so powerful that onlookers can sense the soul of the object’s creator…in everyday life we call it great art.’ This relationship between states of consciousness in painting and the power of life experience to affect form was continued in her show Wisteria at Goodman Gallery Cape Town in April 2017, a year which proved to be full of success for Webster ,who also curated the ‘Emerging Painter’s exhibition at the Turbine art Fair, and was awarded her her PhD in Philosophy at the University of the Witwatersrand with no corrections.