Jaco Sieberhagen

Contemporary art, by definition, should reflect and comment on present-day society. Many artists approach these issues from a personal, internalised perspective and frequently produce individualised artworks that are highly subjective, thereby limiting their potential audience. In his quest to address a universal audience, Jaco Sieberhagen juxtaposes contemporary socio-political issues with parallels in history. His sculptures do not offer conclusions but instead ask questions – he questions man’s sacrificial pursuit of progress and materialism and the violent dominance of nature and his fellow man that accompanies this persuit.

In the ‘Coffle’ series, Jaco grapples with James Baldwin’s statement that ‘People are trapped in history and history is trapped in people’. By using the haunting imagery of the slave trade as a reference, he comments on how modern man not only enslaves others, but also enslaves himself. As an introduction to the ‘Being’ series, the artist states: ‘Being and becoming have more to do with where you are going than where you are at the moment’.

This statement rings true for both the ‘King’s High Tea’ as well as the ‘Coffle’ series. The ‘King’s High Tea’ series deals with man’s violent approach towards nature throughout history, by juxtaposing historical transgressions with current practices. Jaco highlights how our familiarity with these violent transgressions has dulled our awareness and comprehension of them. Throughout the different series of steel sculptures that he has created, starting with the ‘When we were Children’ series (2004) and the ‘Balance’ series (2005), Jaco has addressed every theme in an original and thought provoking manner. He has managed to develop authentic and fresh ideas and commentary, which he has presented in a novel way.

This refreshing but serious approach to contemporary issues deserves our attention, thoughts and consideration regarding the choices we make – it illustrates and communicates the consequences of our actions towards Man and Nature and the responsibilities that lie with each of us.

In the final analysis, all of us, collectively and individually, are defined by where we are going and not by where we are now.

Johans Borman
Cape Town
April 2008

Artists comments: Coffle Series

Coffle Series

The American Writer James Baldwin asked the thought provoking question “Which of us has overcome his past” in his writings when he looked at American History and especially the time of the Slave trade and to a certain extent his country’s inability to come to terms with it’s historical underbelly of racial violence. He also struggled with the idea of moral progress and asked if people really change when their historical context changes. This question has become an important one considering the present realities in South Africa where the honeymoon period of the “Rainbow nation” is over and we are in the process of re-thinking / re-defining our relationships with history, with our fellow Countrymen and a new reality for many; our relationship with nature. Baldwin’s gripping statement “People are trapped in history and history is trapped in people.” confirms the energy that is at present evident in our country.

With above mentioned thoughts in mind I decided to do the “Coffle” series of work in which I set out to portray the reality that people (we) are inseparably connected to each other and each other’s past, present and future. To quote freely the words of James Baldwin: “We are trapped in each others past, present and future.”

To give life to this concept I am using the haunting images of Coffles (Coffle - line of slaves tied together - Coffle is derived from the Arabic word “cafile” meaning caravan.) I use historical drawings of actual Coffles as reference points to strengthen the concept. Although the coffle recalls a painful time in the history of mankind it is also a symbol of an inseparable unit /chain of people brought together by circumstances moving toward a shared destiny. Acknowledging this unity becomes the coffle’s strength and hope for survival.

Artists comments: The King’s High Tea

King’s High Tea

Looking at household articles from eras gone by you will notice the interesting phenomena that many of these articles were decorated with graphic scenes of violence towards man and nature.

Carpets, tapestry and mosaic with hunting scenes decorate living rooms and the most delicate Victorian tea sets and porcelain are also decorated with hunting and battle scenes.

You cannot but wonder about this phenomena of promoting scenes of transgression against nature and fellow man to a decoration on a household article. What does it tell you about man and his ability to distance himself from obvious transgressions to such an extent that he can decorate his most intimate household article like a tea set, with such destructive scenes?
Does it speak about his feeling of power over man and nature to such an extent that everything is acceptable in the race for money, power and prestige? (Maybe that is why hunting is called the sport of Kings.) Does it speak of his arrogance and attitude of invincibility?

Modern man is definitely not less violent than his ancestors. We have only managed to cover our violence with a thin layer of sophistication. The transgression towards man and nature are just as real today and modern man has unfortunately developed the capability to destroy everything around him within a second. The 21st century has therefore become the critical century where man has to extend his conscience and learn to control his money, power and knowledge.

Although we might not decorate out tea sets with scenes of radiation destruction, modern wars and the devastation of pollution where the innocent are on the receiving end, we somehow manage to enjoy our afternoon tea in spite of the presence of the above mentioned transgressions. The only time we might miss our afternoon tea is when we are under the impression that we are directly affected by such transgressions.

Artists comments: Being Series

Being /Becoming

Being is a state of mind and being is also a process of becoming. Being and becoming has more to do with where you are going than where you are at the moment.

Curriculum Vitae

Born 25 January 1961, Victoria West

Formal Education

1981
BA, University of Port Elizabeth
1984
B-TH University of Stellenbosch
1985
Licentiate in Theology University of Stellenbosch
1987-1990
Occasional student in Sculpture under under Prof. Jos Nell, Rhodes University
1994
Diploma in Fund Raising Management, University of South Africa

International Exhibitions

2001
Science Art Society International Sculpture exhibition, Boston USA.
2002
2002 International Art Contest, Australia
2002
Africa Heritage 2002, 4th Biennale of the Pan-Africa Circle of Artist (PACA) in Lagos, Nigeria
2004
Overcoming Maps 3, Traveling exhibition, PACA, Nigeria, Benin, Togo, Burkina Faso, Mali, Ghana
2004
Africa Heritage 2004, 5th Biennale of PACA in Enugu, Nigeria
2005
Galerie Art’ et Miss, Paris, France (Group exhibition)
2005
Salon d’Art Nature-Animaux, Espace Champerret, Paris (Group Exhibition)
2006
Salon d’Art Nature-Animaux, Paris (Group Exhibition)
2007
Galerie Art’et Miss, Paris, France (Group Exhibition)
2010
In Family Unity - Unity of the world, Khanty - Mansiysk, Russia (Traveling Group Exhibition)

National Exhibitions

1990
Volkskas Atelier
1992
Volkskas Atelier
1996
Volkskas Atelier
2002
Solo exhibition - KKNK (Sasol Visual Arts Main Festival), Oudtshoorn
2004
Sasol New Signature Competition ‘04, Pretoria
2004
Brett Kebble Art Awards, Cape Town
2005
Sasol New Signature Competition ‘05, Pretoria
2006
Installation work “Girl in a Blue dress” - finalist for the cancelled 2006 Brett Kebble Art Awards
2007
Spier Contemporary 2007, Stellenbosch
2009
Woordfees, Stellenbosch, ATKV Project “Skilder met woorde”
2010
Spier Contemporary 2010, Cape Town

Solo Exhibitions

1998
Jean Welz Gallery, Worcester
2000
Klein Karoo National Arts Festival, Oudtshoorn
2001
Chelsea Gallery, Cape Town
2002
Cuyler Street Gallery, Port Elizabeth
2006
AVA, Cape Town
2008
art-b, Bellville
2008
‘Trapped in History’, Johans Borman Fine Art Gallery, Cape Town
2009
‘No(n) place like home’, Artspace Gallery, Johannesburg

Group Exhibitions

1999
Bellville Art Gallery with Cecilia van Heerden
2001
KKNK Oudtshoorn - with Francois Gerber and Francois Tiran
2003
‘Triptych’, Johans Borman Gallery, Cape Town with Hennie Niemann Jnr and Angela Key
2003
Chelsea on 34 Gallery, Darling, with Judith Mason and Cecily Sash
2004
Skukan Gallery, Pretoria, with Elize Lamprecht
2004
art-b, Bellville, with Nico Eilers, Loni Drager
2004
Jean Welz Gallery, Worcester, with Nico Eilers, Loni Drager
2005
Chelsea on 34, Darling, with Francois Roux
2006
Artspace Fine Art Gallery, Johannesburg, with Bonnie Walters
1987-2010
Participated in 65 Group exhibitions
2009
‘Art that inspires’ Anniversary exhibition at Johans Borman Fine Art Gallery, Cape Town.

Curator for Exhibitions

2003
“Dream for our Daughters” exhibition - Sasol Main Festival Exhibitions, KKNK, Oudtshoorn.

Residencies

December 2004 - January 2005
Cité Internationale des Arts, Paris

Publications

2001
Afrikaans volume of poetry - Roosknop of Marmerklip
2002
The poem “ABBAKIND” published in “Die Woordgilde, Bundel 55”
2008
‘Trapped in History’ Catalogue published by the Johans Borman Fine Art Gallery
2009
No(n) place like home, Catalogue published by Artspace Fine Art Gallery

References

“A Selection of Eastern Cape Art” by Helena Theron

Awards

1996
Sasol New signature Art competition - Sculpture, Art-b, Belville, SA
2000
Public sculpture for Port Elizabeth competition - Joint runner-up (highly recommended)
2001
Art Society International Contemporary Sculpture Competition, Boston USA - Outstanding Sculpture Award,
2002
2002 International Art Contest, Australia - Runner up Mixed Medium Category
2005
Merit Award, Sasol New Signature Exhibition, Pretoria, SA
2006
The lauréat du prix du public pour Exposition Internationale, Galerie Art’ et Miss, Paris France

Public Sculpture

2007
Sculpture in Sculpture Park, Erdaobaihe (Baihe), North Eastern China
2007
Sculpture in Sculpture Park in Erdaobaihe (Baihe), North Eastern China, “Conversations”
2008
Hollard Head Office, Johannesburg South Africa, “Imagine”
2008
Jan Cilliers Primary School, Johannesburg, “Reg vir die volgende stap”
2009
Sculpture Park (Ron Kaplan) Australia
2009
Qasr Al Sarab, Abu Dhabi
2009
Rand Merchant Bank, Johannesburg
2009
Changchun International Automotive Park, China

Public Collections

South African Constitutional Court Collection
Sasol Collection
Hollard Collection
Nando’s, United Kingdom
Hugo Naude Art Gallery Worcester
Pan African Circle of Artists Collection
Enugu
RMB Collection
ATKV Collection
South African Constitutional Court Collection, Johannesburg, ‘The Judge’
Sasol Collection, ‘Liberty guiding the people’
Hollard Collection, ‘Baobab tree’
Nando’s, United Kingdom, ‘Keeping the balance’, ‘Tug of war’, ‘Liberty guiding the people’ the series ‘Being’ consisting of seven works, the series ‘Coffle’ concisting of 17 works
Hugo Naude Art Gallery Worcester, ‘Ghosts of the past’
Pan African Circle of Artists Collection, Enugu Nigeria, ‘Into the light’ (photo) and ‘Donations for Africa’ (photo)
RMB Collection, ‘Keeping the balance’, ‘Tug of war’
ATKV Collection, ‘Môre buurman’, ‘Monumente’, ‘Kerk?’, ‘ProPatria II’
Sasol Gas Collection, ‘Coffle III’
Iziko Museums (Slave lodge), Cape Town, ‘Cape Wedding 05-12-1689’, ‘Royal Invisible’

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