Santa Fe Art Institute Residency [summary]

 

Sante Fe Art Institute Art Studio: Mixed Media work – “The Three Architects”

I attended the thematic “Truth and Reconciliation” art residency at the Santa Fe Art Institute this September.

I participated in an exhilarating dialogue with international artists regarding this complicated theme.

Voices participating were from Colombia, Israel, Native American, South Africa, Taiwan. etc.

From my Notebook:

As artists, we do not always have the answers but we do
make the unconscious conscious.

To make art you first need to consume yourself.
Devouring your own flesh until personhood is gone.
Only then you become the other.
When you are the “other” you are not the artist
you are part of the collective heart.

Jung said that until you make the unconscious conscious,
it will direct your life and you will call it fate.

Antonin Artaud declared that art was the double of life, a
duplicate reality. “We have a spirit so made that
it spends its life looking for itself … In becoming
conscious, it duplicates itself.

Artists as witnesses are duplicates,
they contain both the subject and the object.
the self and the other.
the truth and the lies.

Santa Fe Art Institute Art Studio – Work in Progress

By |2018-12-04T09:38:45-05:00September 25th, 2018|

Libation for the Lineage of the Unlived [video art]


The Mountain Without a Shadow, or, Unfinished Business

I once walked past your front yard.

You waved me in.

 

Something appeared on the horizon when you looked out your living room window that day.

You had to show me.

 

A mountain, overnight, bricked itself in the firmament, cemented tight by cloud.

 

“Look!” you say.

“I did not see that yesterday, but when I woke up today, there it was!”

 

I felt the boulder stack more than I could see it, but yes,

it was there.

The way you can see a brain tumor in faltered speech.

 

You poured us each clear spirits in Mason jars and invited me to sit

outside on lawn chairs.

Together we watched the sun compete with stone.

 

The sun did not appreciate this new roadblock, it lamented.

 

“What do you think you are doing here? Can’t you see, I have

somewhere to be?”

 

The mountain sat mute.

 

The sun tried its work, this way and that, up, down, but was in a cul-de-sac.

 

It was then that we realized that mountain did not cast a shadow.

Its weight, without shade. Its demeanor, soundless.

 

But deep inside a fissure in its craggy side, we heard an old voice sing.

It was so familiar, I could smell my Mother,

It was so innate to my bones, I could feel my Grandfather move under the ground.

 

A song of displacement.

Of fallen soldiers,

grieving children,

wounded women,

caged animals,

and decapitated forests.

 

Most of all, it sang about its persistent thirst.

Parched and filled with yester-dust.

A silo throat devoid of unharvested maize.

 

This song of yearning urged us to get up and emptied our Mason jars.

Pouring the clear spirits onto the soil, seeping away.

As the mountain drank from our jars and right before it faded, we stood for a tick in its newborn shadow.

 

All that remained was the backside of the sun on its way.

 

By |2019-06-24T14:55:35-04:00April 2nd, 2018|

Museum of Contemporary Art North Miami write-ups for “Intersectionality”

Anja Marais Art Anja Marais Art

“On Their Shoulders” 2016, Photomontage Mixed Media and Found Objects. 72 in x 48 in x 28 in

My  work got mentioned in the press for the “Intersectionality” exhibition curated by Richard Haden:

By Phillip Valys from SouthFlorida.com

….The piece calls to mind old-world colonialism and immigration, which is echoed in Anja Marais’ installation “The Crossing,” where nine pairs of adult and children’s dress shoes filled with dirt sit next to an out-of-focus photograph of a muddy cornfield.

Although Marais emigrated from South Africa during apartheid, the shoes evoke the current Syrian refugee crisis, Haden says.

“When migrants are being forced out of their country to escape oppression, they have to pack your belongings hastily. You leave with the shoes on your feet,” Haden says. “It’s a dehumanizing process, these journeys from one world to another.”

Read full article [HERE].


By Anne Tschida for Miami Herald

Two installations leave a searing impression. One is a large photograph of a fallow field; in front of it are shoes — some of them lovely dress shoes — filled with dirt. Artist Anja Marais, an immigrant from South Africa, created the work in reference to the plight of Syrian refugees, who have fled with the shoes they wore on whatever day they ran, tripping through muddy fields in high heels. Adjacent is a sculpture of tattered furniture bundled together, left behind as the journey became more treacherous. Migrants are in a perpetual process of losing and reforming identities.

Read full article [HERE].
The exhibition is open until August 14th 2016

 

By |2017-07-11T00:09:17-04:00August 5th, 2016|

Famished Road at the Deering Estate

Famished Road at the Deering Estate by Anja Marais

The Famished Road ‘  is an installation created for the exhibition “Intersections” that will open in  Miami at the Deering Estate on

SATURDAY, APRIL 16th, 3:30 – 10:00 pm

The Famished Road‘ Speaks of the displaced and the current refugee crisis of our world. Those that live in a state of makeshift between borders seeking shelter not just from the elements but from the shadows of humanity.

Mixed Media, found objects and Photo montage – 2016 – 8′ x  15′ x 15′

Exhibition ends June 6th, 2016

Famished Road at the Deering Estate by Anja Marais

By |2017-07-11T00:08:17-04:00April 13th, 2016|

Stages of the Denizen

February 3rd – March 1st
Artist Lecture: Wednesday, February 3rd from 3 – 4 pm, CBS Auditorium
A reception will be held immediately following the lecture.
University of the Arts
Sculpture Gallery / Hamilton Hall Lower Level
320 S Broad Street, Philadelphia, PA, 19102

Stages of the Denizen and Exhibition by Anja Marais

Up flight of the Wingless Bird, 2015, 85″ x 79″, Photomontage, ink on recycled fabric

By |2017-07-11T00:08:17-04:00January 31st, 2016|
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