Conrad Botes

Conrad Botes was born in 1969 in the Western Cape. Part of his childhood was spent living in a Department of Water Affairs prefab house on the edge of the Theewaters Dam. His father was a teacher at the local school. Listening to Conrad Botes tell stories of the characters that peopled his childhood world one can see how he has been able to develop his eye for targeting the soft underbelly of Afrikaanerdom and by extension South African culture. It does not take much to imagine Botes out on Commando during the Boer War and it is this dichotomy between who he physically is and his mental space that makes his work so powerful.

Together with Anton Kannemeyer, Conrad Botes is one of the founders of Bitterkomix, a rude almost abusive, cutting publication which the two started as students to jolt the establishment and enliven the lives of their gleeful peers, and which they still publish regularly. The Bitterkomix publications, still distributed personally by Botes and Kannemeyer, have grown to be something of a national institution. Botes proudly relates how one of their comics was the first publication to be banned in the free South Africa, and Claudette Schreuders tells how Kannemeyer and Botes were able to keep their supply of beer going through university with the sale of postcards that they made from Bittercomix

Botes elaborates: "With the comics, we're dealing very specifically with a South African audience who know what we're referring to. Originally we wrote them in Afrikaans, so many of the references are to things in Afrikaans culture. The paintings I make are much more personal. I can explain them if I have to - but I'd much rather not. It is difficult to explain something that you are meant to feel. People can formulate their own ideas about the work, the viewers reaction is more important than my own explanation".

With a new suite of monoprints, silkscreens, lithographs and other work on paper, Conrad Botes indisputably proves his status as 'torchbearer of the Post-Pop movement in South Africa', according to Alet Voster from Art on Paper.

With his icons of atavistic males and females, including the 'tortured soul' and the femme fatale, Botes mocks conventional notions of individualism and 'humanism', ranging from romantic love to self-flagellation. Botes has been portrayed in critical literature as the 'posthuman' artist par excellence (Ashraf Jamal, 2004). That said, he gives the sweet sentimentality, typical of many of Post-Pop's practitioners, a bittersweet edge in his latest work.

Botes uses Post-Pop's preference for 'sugary infantilism' to reflect on contemporary society. In such a society, religion is irreverent, violence is desirable, sadism institutionalised, and the individual triumphant in his existential crisis. Botes' work achieves an interesting fusion of the pastoral with contemporary realities and aesthetics: flowers are often wounds in his works and birds are harbingers of doom. Detached hands refer to creativity.

After a day exhausting the master printer with his vision and energy, Conrad would spend the evening making boats out of old tin cans for our seven-year-old son and doing drawings of mermaids for our five-year-old daughter...

Conrad Botes's work is represented in both local and international collections including the Sanlam Collection, Michaelis Collection, Johannesburg Art Gallery, The Museum of Modern Art (MOMA) New York, Art Omi Collection (NYC) and the Francis Greenburger Collection (NYC). He has exhibited extensively throughout South Africa and internationally including exhibitions in Italy, The Netherlands, Belgium, Switzerland, England, Spain and Germany. In 2004 he was awarded the Vita-Art award and in 2006 he participated in the Havanna Biennale. In 2007 he will participate in a exhibition that spans the history of Aprtheid and Racism at the CCCB in Barcelona. Publications include various catalogues and the Big Bad Bittercomix Handbook. To view more of Botes's work take a look at

Conrad Botes at the Michael Stevenson Gallery

Artists

New Editions

Techniques used in Conrad Botes prints

Lithographs, 2006/2007/2008

Lithographs, 2005