My studio: a view of my printing press, ink, workspace and source materials.
My daily process entails experimental monotype printing using ink and solvents to create effects similar to watercolour. My work is mainly focused on female bodies exploring unique ways to represent the female body for my PhD on the female corpse in popular culture. Also writing and researching my topic at my computer.
This is my studio in Kosmos at Atelier Isabella. Contemplating how to proceed. I never work with a set pattern. Every painting dictates the way I paint. My main studio is now in Featherbrooke Estate, Krugersdorp. Everything in my studio function on wheels.
In my work I examine, expand and negotiate the concept of female identity within a rampant consumer culture through the use of a wide range of materials, images and processes.
The symbols and figurations I reference both critique and contain the ability or movement of change, through appropriation and altering in an attempt to explore my own subjectivities and challenge mimetic structures of a dominant culture.
As a professional cold worker (cut, grind and polishing glass) one needs the right tools. This is a specialist area in glass, especially handmade glass production.
The machine you see me working on here is called a Spatzier glass lathe. It's an age old technique where an abrasive wheel or disk turns on a variable speed spindle to cut and shape glass. Traditionally one can liken my field of work as "cut glass", similar to crystal glasses etc., although I apply my skills sculpturally.
Glass is an optical medium and the polished cuts and shapes accentuate these properties. Its a lengthy process where one begins with a drawing on paper - planning. The initial cut is done with a rough silicon carbide wheel to remove large quantities of material efficiently. Thereafter the rough intaglio cut is smoothed with a stone wheel - usually natural sandstone or corundum. I love the "old school" process and quality of the cuts (compared to modern day diamond alternatives.)
Once the cut is smoothed polishing can start. Using a poplar wood wheel and regularly applying a polishing compound such as calcinated clay or pumice, the cuts are pre-polished. Thereafter the final polish occurs with a felt wheel and cerium-oxide.
Each wheel is dressed (shaped) to fit the intended profile (shape of the cut). It is a strenuous, lengthy and repetitive process which I love; and it's only right at the end, when everything is shiny, that the magic of this labour of love appears.
My studio, which was originally a garage and a storeroom, is conveniently a few steps from my kitchen door. I share the space with my private painting students who come for tuition three times a week.
I have begun work on a series of large scale ‘pool paintings’ that differ from the work I have made in the last three years (2014 to 2017), in that I have abandoned the 1m x 1m square canvas for a bigger landscape format that will allow a lateral, flowing rhythm across the canvas. I will also include the human figure in some of the pools, although they will be cropped to increase the abstract reading of the figure as a shape, form or physical mass that interacts with water in a sensual or emotional way.
My love of water as an element, its mythology and poetry are bound up in my love of paint and its ability to simulate the material and the psychological.
I am preparing work for a two-woman show in February at Gallery 2 in Rosebank, Johannesburg. My exhibition partner is the painter Laurel Holmes who explores the poetic geology of earth and cosmic matter.
Rogerio's artist studio is lined with paintings, brushes, paint tubes, and draft work where he creates his "invented" situations that are both mysterious and unorthodox.
The ideas for his paintings come from a variety of everyday sources and combination of influences, which he explores, and turns into the slightly irrational. In the end it's all about having fun and adding life and magic to the work, no matter what the work means.
The studio is a converted, very large double garage, fitted with lots of plugs, lights, washtubs and hot water, etc. Dogs and a noisy cat usually all over the floor (not shown, a little camera shy).
The apparent chaos on the work tables are actually materials for the 100 collages I hope to complete this year – now somewhere near number 80.
The white box-like ghetto blaster on the shelf provides music-to-work-to all day – wake-up Baroque in the morning, Vivaldi, Monteverdi, later Hummel, then Jonas Gwangwa and the Black Mambazo, some world music in the afternoon, Tallis, Byrd, Rodrigo, Dino Saluzzi in the evening.