Stefanus Rademeyer / Resonant Structures

Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View
Stefanus Rademeyer / Resonant Structures
14 May - 18 June 2011
Installation View

Stefanus Rademeyer

Cubic Space Latttice II, 2010 Solid Mahogany, Mirrors, perspex, Fluorescent lights + Stand 75 x 225 x 25cm (stand height: 110cm)

Stefanus Rademeyer

I, 2010 Mirror, fluorescent light, mahagony, perspex 925 x 2230 x 150 mm

Stefanus Rademeyer

Radial Symmetry III, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Neural Grid I, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Arc, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Sakura, 2010 Pure pigment ink on archival cotton rag 61 x 61 cm

Stefanus Rademeyer

II, 2010 Mirror, fluorescent light, mahagony, perspex 93 x 223 x 15c cm

Stefanus Rademeyer

Arborescent Geometry V, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Ensō, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Ensō, 2010 Pure pigment ink on archival cotton paper 111.8 x 111.8 cm

Stefanus Rademeyer

Differential, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

20°/80°, 2010 Pure pigment ink on archival cotton rag 61 x 61 cm

Stefanus Rademeyer

Arborescent Geometries VII, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Dialogue, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Wavegrid, 2008 Mirror, fluorescent light, mahagony, perspex 2430 x 1030 x 250 mm

Stefanus Rademeyer

Cubic Space Latttice III, 2010 Solid Mahogany, Mirrors, Perspex, Fluorescent Lights + Stand 75 x 225 x 25cm (stand height: 110cm)

Stefanus Rademeyer

Arborescent Geometry III, 2010 Pure pigment ink on archival cotton paper 111.8 x 111.8 cm

Stefanus Rademeyer

Arborescent Geometries II, 2010 Pure pigment ink on archival cotton paper 610 x 610mm

Stefanus Rademeyer

Wreath, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Circular Limit II, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Olive Tree, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Point Texture Field, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Arborescent Geometries I A, 2010 Pure pigment ink on cotton rag paper 610 x 610 mm

Stefanus Rademeyer

Arborescent Geometries III A, 2010 Pure pigment ink on cotton rag paper 610 x 610 mm

Stefanus Rademeyer

Forest Orb II, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Urban Landscape I, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Texture Cloud, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Arborescent Geometry I, 2010 Pure pigment ink on archival cotton paper 1118 x 1118 mm

Stefanus Rademeyer

Square Limit, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Spiral Forest, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Cubic Space Latttice I, 2010 Solid Mahogany, Mirrors, Perspex, Florescent Lights + Stand 75 x 225 x 25cm (stand height: 110cm)

Stefanus Rademeyer

Point Line Field, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Arborescent Geometry IV, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Arboreal hierarchy, 2010 Mahogany, MDF, grey mirror, fluorescent light 1200 x 1200 x 150 mm

Stefanus Rademeyer

Hairline Trees III, 2010 Pure pigment ink on archival cotton paper 61 x 61 cm

Stefanus Rademeyer

Hairline Trees IIIA, 2010 Pure pigment ink on archival cotton rag 61 x 61 cm

Stefanus Rademeyer

Argonauta Forest, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Two Infinities, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Orbit Variation, 2010 Pure pigment ink on archival cotton paper 1118 x 1118 mm

Stefanus Rademeyer

Herculean, 2010 Pure pigment ink on archival cotton paper 610 x 610 mm

Stefanus Rademeyer

Point Line Cloud II, 2010 Pure pigment ink on archival cotton rag 610 x 610 mm

No 3D loaded yet

In his first solo exhibition at Goodman Gallery Cape – titled Resonant Structures – Stefanus Rademeyer expands on his interdisciplinary approach to art-making; intersecting the seemingly unlikely fields of art and mathematics. Rademeyer has developed algorithms that describe the inherent form and intricacy of various natural structures, which are then translated into the visual realm using digital processes. The result is a series of objects and digital drawings that are boundlessly engaging and eloquently beautiful. The show brings together new work and pieces from Rademeyer’s successful solo show at Goodman Gallery Johannesburg last year.

In Resonant Structures, Rademeyer considers the language of mathematics, which, he explains “is also a symbolic system, a highly formalised language. Mathematical language is a logical and coherent system. It’s incredibly specific and is always used from an analytical perspective to solve rational problems or propose logical theorems. So, I thought, what if I apply those logical principles creatively?” The mathematical formulas that Rademeyer has been working with over the past three years fall into the category of “generative algorithms”. The word “generative” implies the notion of growth and mutation and within the exhibition, the artist explains, the viewer is offered visual clues that allude to an array of natural forms and systems within atomic structures, geology, crystallography, biology, botany, and even zoology.

In order to create a series of algorithmic drawings produced as digital prints, Rademeyer uses the process of coding within existing computer programmes. “Some of the structures that I draw consist of twenty million different shapes that come together in one structure, so it is physically impossible to do it manually,” he explains. “The prints are static images of this dynamic process. One can compare it to an image of a river flowing that is captured in a photograph. They’re residual of a process.” The resulting structures, the artist continues “almost have personalities, because they’re so complex you imbue them with certain qualities.”

A central component of Resonant Structures is a series of large-scale light boxes that display details of particular algorithms. These light boxes – flawlessly crafted out of mirror, fluorescent lighting, mahogany and Perspex – form an installation that reveals Rademeyer’s interest in the experiential element of visual art. Using light as a medium, these objects are designed to absorb the viewer into a new environment. The experience is envisioned be immersive, with a sense of boundaries beginning to blend.

While not everyone who views the show will be conversant enough in the specific mathematical language to completely comprehend the formulas behind the algorithms, Rademeyer’s work maintains appeal on many levels. Not only are the objects and drawings he creates often mesmerisingly arresting, their visual complexity draws you in, compelling you to look deeper, to know and understand more.

Stefanus Rademeyer (b. 1976) holds a Masters Degree with distinction in Fine Arts and Art Theory from the University of Witwatersrand, and has been a full-time practising artist for over ten years. His sculptures and prints can be found in the major corporate and private collections in South Africa and his work is also held in private collections in the United States, the United Kingdom and Europe. In 2001 he was awarded first prize in the Absa L’Atelier competition, and took up residence at the Cité Internationale des Arts in Paris. In 2003 he was awarded the Ampersand Foundation residency in New York. His work has featured at major international events such as Art Basel 2010 and he has held numerous solo exhibitions in South Africa.