There are both symbols and metaphors in Juan Stockenstroom’s intuitive, streetwise, mixed- medium paintings, which are a far cry from the process driven lino cuts of his Model C High School art classes. Fed by the inexpensive medium as a mono diet, one senses that the only
lino he wants anything to do with now is the stuff beneath his feet as floor covering.
For this artist – from a loving, working class Woodstock family – there was no money for further studies. When you finished school, you got a job. First came the call centre, then the position of photographer’s assistant. He admits to getting into photography for all the wrong reasons: glitz and glamour.
Unseen, barely perceptible underground currents had been gathering and the epiphanic moment arrived when Stockenstroom made the decision to go out and buy a roll of canvas and acrylic paints. Working furiously for days, he poured out a stream of unconsciousness until his wrists ached.
Currently Stockenstroom is working on a new body of work in which he has introduced the medium of metallic paint. One of the works in progress is inspired by a book on the rape of Africa, which shows thebody of a woman with two faces, her body sectioned, suggesting the continent’s butchering by Europe and the colonising of her resources.
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