Wed, 22nd Jun 2022 18:00

The Present Future: A Private Collection of African & International Contemporary Art (Live Auction)

 
Lot 11
 
Lot 11 - Cameron Platter  (South Africa 1978-)

11

Cameron Platter (South Africa 1978-)
Mango Loco

enamel on Jacaranda wood

Artwork date: 2020
Exhibited: OPEN 24 HRS, Cape Town, 'Cameron Platter: 7 Eleven', 12 February to 15 December 2020.

Estimated at R40,000 - R60,000


Condition Report

The overall condition on the work is excellent.

Please note, we are not qualified conservators and these reports give our opinion as to the general condition of the works. We advise that bidders view the lots in person to satisfy themselves with the condition of prospective purchases.

 

enamel on Jacaranda wood

Artwork date: 2020
Exhibited: OPEN 24 HRS, Cape Town, 'Cameron Platter: 7 Eleven', 12 February to 15 December 2020.

(1)

86.5 x 60 x 60 cm

Provenance:

Private collection, Cape Town.

Notes:

Life Solutions International, Cherry’s The Bomb.Com, Mango Loco – some of the titles for the works in this collection – are clear indicators as to the kind of artist we’re dealing with. Cameron Platter is a mirthless prankster, someone wholly locked into the tinsel that is Pop Art, who, nevertheless, also understands that Pop Art and Pop Culture have metastasised, and now that it is a global virus, impossible to ignore.

Platter’s mantra – ORIGINAL GREEN OOEY GOOEY YUM YUM BLOOP RAZZLEDAZZLE LO CARB SPORTY RED MIXXED PURPLE MANGO LOCO CHERRYSTHEBOMB.COM PEELIN’ OUT ORANGE DEEP SEA REEF QUAKE ENERGY BERRY BLAST HEAVY METAL – sums up the infantilism, glee, mania, illiterate bliss of our current age. As Lindsey Raymond notes, with regard to Platter’s work – ours is an “unethical capitalist frenzy” which Platter, in his own peculiar way, performs.[1]

Ours is “the dizzying disorientation brought on by the premature arrival of the future,” the futurist writer Alvin Tofler notes in his book Future Shock (1970).[2] In South Africa, we have a phrase for this time warp – Now Now. Platter works inside this warp. His bling breeze blocks – used for RDP housing – now appear as riddled lozenges, in Mango Loco, Mixxxed Purple, Original Green and Cherry’s The Bomb.Com (lots 9, 10, 11 & 12). His vision of autocracy - Gold Prince Barrack Hussein (lot 20) – is gold plated, puffed up, infused with a metastasized arrogance and narcissism - the defining grotesquery of our age. As for Life Solutions International (lot 23)? It’s a monochromatic pencil crayon work on paper which evokes the age-old wood cut. It is a sum of bird-people – a hybrid morphing world – intercut with a crowd of faces with yellow eyes like distant headlights. There is something spooky in this primal forest, but also a wry spoof of Africa as a necropolitical zone of psychic fuckery.

All in all, despite the works’ undertow, Cameron Platter gives us what we want – just the right dosage to entertain us in this end-time.

Ashraf Jamal

[1] Raymond, L. (2020) as cited in Jamal, A. (2021). Strange Cargo. Milan: SKIRA. p.335.

[2] Tofler, A. (1970). Future Shock. New York: Random House. p.10.

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