CREATIVE - The Creative Block

The Creative Block is a creative outlet for
artists as well as collectors. Recognised
and emerging artists are invited to interpret
18x18cm blocks any way they choose,
promoting fresh creative exploration among
even the most established styles. Finished
Blocks are curated by one of South Africa’s
leading art consultants. Collectors too
become part of the creative process by
arranging and rearranging their selection
of works, creating a bigger and more
personal artwork. All the blocks are equally
and affordably priced and is the perfect
way to start an art collection or to extend
it with fresh talent or a distinguished name.
THE
CREATIVE
BLOCK
For contact info, click here

ABOUT
THE INITIATIVE
Jeanetta Curating the Creative Blocks
Established in Cape Town in 2004,
Creative Block is a significant new
arts initiative that provides a life-line
to a large number of local artists
in a country where earning a living
with your art is extremely hard.
Artists are invited to produce
work on standard wooden blocks
(18cm by 18cm by 2.2cm), but
are in no other way restricted in
their expression. The blocks are
curated by Jeanetta Blignaut Art
Consultancy, the founder behind
the Creative Block. Only works of
the highest quality are selected.
The chosen blocks are immediately
bought form the artist and are sold
to collectors the world over.

Regan Kapp
01
02
03
04
05
06
07
CONTENTS
Sandile Anthony Mhlongo
A photographic collection by Malcolm Dare, Composed,in collaboration
with The Creative Block.
A Community Art Project that is influencing the South African Art Scene
Alex Emsley
Quotes from participating artists
Ernest Fulani, Ricky Dyaloyi, Miranda Vinywa, Pierre Fouché
The reflections of an avid creative block collector
Dick Enthoven
Die Kuns om kuns te verkoop
Jo-Marie Rabie
Image Appendix
Contact
Thabang Nale

01
A PHOTOGRAPHIC COLLECTION
BY MALCOM DARE, COMPOSED,
IN COLLOBARTION WITH THE
CREATIVE BLOCK

With years of international experience and two hardcover publications behind his
name, photographer Malcolm Dare has the ability to capture an almost improbable
presence of beauty in his subjects.
Ostensibly this project documents twenty-four South African artists in their own
work spaces. However, with studios dotted in areas ranging from Phillipi, Inyanga,
Khayelitsha, Mitchells Plain, and Parklands to Salt River, Woodstock, Observatory,
Greenpoint and even Kalk Bay, Dare’s series of portraits sensitively translates the
diverse nature of creative production in our country.
To purchase prints please contact Jeanetta Blignaut on +27 21 465 9036.
AVA EXHIBITION ( Association for Visual Arts )
35 Church Street, Cape Town, 8001
T: +27-21 424-7436 | www.ava.co.za
SPIER HOTEL EXHIBITION
Summer season
R310 Lynedoch Road, Stellenbosch, 7600
T: +27-21 809-1100 | www.spier.co.za
HOLLARD
Villa Arcadia at Hollard Campus, 22 Oxford Road Parktown, Jhb (Enter Federation Rd)
T: +27-11 351-1000
View by appointment only

ALBERT COERTSE
© The Creative Block, Photographer Malcom Dare

ALFRED BUDAZA
© The Creative Block, Photographer Malcom Dare

CHRISTOPHER SLACK
© The Creative Block, Photographer Malcom Dare

KHAYA SINEYLIE
© The Creative Block, Photographer Malcom Dare

MARLISE KEITH
© The Creative Block, Photographer Malcom Dare

NOMTHUNZI MASHALABA
© The Creative Block, Photographer Malcom Dare

02
A COMMUNITY ART
PROJECT THAT IS
INFLUENCING THE
SOUTH AFRICAN
ART SCENE
Throughout South Africa’s history, formal art training and a means to earn a
living through art has been beyond the reach of the vast majority of local artists.
These artists have usually been left with two choices: to learn what they
can from various informal workshops and community art centres, and to sell
modest quantities of work whenever rare opportunities arose. When one considers
the concept of informal art training, you would be forgiven for imagining
messy powder-paint lessons in an unused garage. The truth is that the history
of South African art has been undeniably shaped, influenced and inspired by
various community initiatives and informal projects that were geared towards
disadvantaged artists. Some of these have been formal organizations – receiving
limited funding from state resources. Others have been modest projects
made possible by benevolent individuals and organizations.
Many informal art centres and community projects have produced a surprising
amount of influential artists and have earned formidable reputations – reputations
that have grown in stature long after their closure. In fact, it seems that
only after art centres or community projects have ceased to exist, are their
historic worth recognized and appreciated. Some of them are then regarded
with the same respect as that enjoyed by lofty academic institutions. Works of
art that were produced through such initiatives become highly collectable as
they represent a historical phase or era.
It would not be an exaggeration to suggest that an artist’s career can actually
be founded on the reputation of an informal art centre or community project.
Once the art establishment takes cognizance of a certain centre or project,
Marna Hattingh
A Creative Block Gathering

then individuals associated with it are immediately held in higher regard. Our
country’s top galleries no longer differentiate between artists who have been
academically trained, and those whose training is less formal – they have
learned that success in the art world is not determined by a string of letters
behind an artist’s name.
In 1962, the humble Rorke’s Drift Arts and Crafts Centre was founded in
Kwazulu Natal. It had to make to do with limited resources and eventually
closed two decades after its inception. At the time, few would have grasped
the impact that this rural centre would have had on South African art. The
Rorke’s Drift centre may no longer exist, but its reputation has attained legendary
status, and its name is etched in the annals of South African art history.
The careers of legendary artists such as John Muafangejo, Azaria Mbatha,
Dan Rakgoathe, Walter Battis and Sam Nhlengethwa are undeniably linked to
Rorke’s Drift. Even lesser-known artists who were fortunate enough to have
trained there enjoy a certain degree of respect – simply because they participated
in an historic initiative.
It is not just the Rorke’s Drift art centre that has experienced such a meteoric
rise to fame. The same can be said of the Polly Street Art Centre established
in downtown Johannesburg in 1953. This centre also reached iconic status
long after its closure, and its artists went on to enjoy substantial acknow-
ledgment from the art establishment. In the last decade various other informal
projects have exerted a profound influence on the local art scene. Many of
these projects no longer exist – but who knows what respect they will enjoy
in future decades.
As in the case of any city in South Africa – Cape Town’s art industry is notoriously
difficult to break into. Artists who have not yet managed to establish their
reputations are left to fend for themselves via other means. It is within such an
environment that community art projects make a profound difference. In 2004,
“Creative Block” – a significant new arts initiative was established in Cape
Town. The brain child of Jeanetta Blignaut, the company provides a life-line to
a large number of local artists by providing them with a means to earn money
from their art, a disturbingly rare privilege in today’s art world. Creative Block
provides them with a dignified alternative to becoming a waitron or barman –
an unfortunate fate that often awaits many struggling artists.
Creative Block makes use of a surprisingly simple system – and for this reason
works so effectively. Prospective artists are provided with blank wooden
“The initiative will, however,
one day be remembered
for the financial support it
provided to young, struggling
artists – enabling them to
develop their careers.”
Sandile Anthony Mhlongo
Artist information on the
back of a Creative Block

locks of varying sizes. The artists are given complete creative freedom to
convert these blocks into works of art reflecting their individual style, and return
them to Creative Block for selection. Suitable blocks are then purchased
immediately and the artist receives financial reward for their labour. The company
then sells the blocks to corporate and private clients. In its short lifespan
thus far, the initiative has achieved cult-like status. Masses of artists congregate
on a weekly basis at the company’s base in Cape Town to deliver their
completed blocks and study each other’s creations.
Some might assume that because each artist is required to work on an established
format, that the blocks somehow lack artistic credibility. The truth is
that it becomes a fascinating exercise to examine how each individual artist
has approached the square format, and each block becomes a unique piece
of personal expression. When viewed in large numbers, these blocks form a
mesmerizing mosaic of various styles and techniques. The effect of such a
spectacle is nothing short of hypnotic.
Surprisingly, some of the artists supplying work to the initiative are not as
young and unknown as one might think. Even artists with moderately successful
careers occasionally require a cash injection. Creative Block enables
even fairly successful artists to supplement their erratic incomes. The initiative
will, however, one day be remembered for the financial support it provided to
young, struggling artists – enabling them to develop their careers. There can
be no doubt that amongst the many artists associated with Creative Block are
yet undiscovered superstars. One day these stars will have fond recollections
of the simple but effective initiative that helped them through the lean years.
Ronald Machatuta
Alex Emsley
Robin Daniels Vivien Kohler

03
QUOTES
Boyce Magandela Norman O`Flynn
“The Creative Block is like
a job for me. I can earn a
salary each and every month.
Working on a smaller scale
has also influenced my work
as I`m used to work on a much
bigger scale.”
Ernest Fulani
“Apart from providing a much
needed sense of financial
security, the creative block
initiative also encourages
one to ‘let go’ creatively.
The smaller format allows,
and indeed, encourages
the ‘happy mistakes’ that
often become the artworks’
strongest aesthetic points.”
Pierre Fouché
“Ever since 2004 my work has
been continuously improving
and I have a chance to learn
other mediums.”
Miranda Vinywa
“I feel that the Creative Block is
a trustworthy, flexible vehicle for
elemental artists yearning for
self-expression, participation
and mutual aid.”
Ricky Dyaloyi
Phumza Dyalivane

04
THE REFLECTIONS
OF AN AVID
CREATIVE BLOCK
COLLECTOR
Creaive Blocks
As an avid collector of Creative Blocks,
I have given much thought trying to
understand the fascination that this
art form holds for me. I have come
to the conclusion that it is probably
the fact that the artist is provided with
a prescribed unintimidating small
format and is freed from the need
to paint something “commercial”
(because, providing the quality
and the integrity is there, the artist
is assured of the sale) the result is
invariably an art piece that is fresh,
honest and spontaneous. In my
mind, whilst each piece is special in
itself, the magic really happens when
you put a group of say 20 together.
In my house I have displays of 5 by 4
(i.e. 20 Creative Blocks in a display).
The blocks relate to each other
so strongly that they themselves
merge their individual identities
and become a single work of art
where the whole far exceeds the
sum of the parts. Because each
“part” is by a different artist and
reflects their own experiences, it
soon becomes clear that actually
what is being displayed is a
newly created single piece of art
that brutally and honestly mirrors
contemporary South Africa. What
also amazes me is that these
displays always leave one feeling
optimistic about South Africa and
its future. I find the experience of
viewing large displays of Creative
Blocks immensely moving.

Henk Serfontein
Selvin November
Thembi Mzinri
Regan Kapp
Tamsin Relly Zandisile Mthimkhalu
Sofie Peters
Ricky Dyaloy
“I find the experience of viewing
large displays of Creative
Blocks immensely moving.”
Xolile Mtakatyu
On another front, whilst my motivation
for selecting each block is purely the
appeal of a particular block, when
you look at the collection overall, it is
quite obvious that for some reason,
I am extremely taken by township
artists. The vast majority of my
collection, happens to be township
scenes, and I must say, it has taken
me some time to try and understand
why I am so attracted to this genre
especially as it in no way reflects
my own personal experience. The
conclusion that I have come to is
that township art acts as a catalyst
enabling me to understand and
empathise with a large and important
part of South Africa’s reality which
otherwise, would be strange and
even fearful to me. In this way, it
makes me feel more integrated in
the total South African milieu.
I would not be surprised, if in years
to come social historians as well as
art historians use displays of Creative
Blocks to understand how South
African society has evolved. When you
have so many different artists express
their own life experiences in exactly
the same format, and this happens
over a number of generations, it is
bound to tell the South African story
in a very striking way.
Dick Enthoven

04
DIE KUNS OM
KUNS TE
VERKOOP
Die kuns is nie meer vandag om wyn te maak nie, maar hoe om dit te verkoop,
vertel ‘n vriend nou die dag. Dieselfde met kuns. Dis ‘n besonderse talent en
gawe om kuns met integriteit te kan identifiseer en mense dan te oorreed om
hul geld daaraan te bestee.
In 2007 het die Metropolitan Museum in New York die ‘duurste’ kuns-uitstalling
ooit die lig haat sien. Die rede vir die koste? Versekering. Die uiteindelike
versekeringsbedrag vir die kunswerke wat van oral oor die wereld op bruikleen
was, was so hoog dat daar in ‘n stadium sprake was dat die uitstalling nie sou
kon voortgaan nie. Die uitstalling? ‘n Retrospektief van die kunswerke wat die
Paryse kunshandelaar Ambroise Vollard (1866-1939) gedurende sy roemryke
loopbaan hanteer het. Van die heel belangrikste werke van Manet, Renoir,
Degas, Cezanne, Gauguin en Van Gogh is deur Vollard aan die bekendste
versamelaars van daardie tyd verkoop.
Maar dit kon tog nie te moeilik gewees het om sulke beroemde kunstenaars
se werke te verkoop nie, kan ‘n mens reken. Verkeerd. Teen die tyd dat Vollard
hul werke begin uitstal het, is elkeen van die kunstenaars reeds deur die
hoofstroom van Paryse handelaars verwerp.
“‘n Mens gaan net na Vollard se galery om geskok te word,” het ‘n kontemporêre
kunskritikus geskryf. Vollard het hom verkeerd bewys. Vandag is daar niks
‘skokkend’ aan die Impressioniste se werk nie, en vorm dit inderdaad ‘n minlike
en integrale deel van ons estetiese verwysingsraamwerk. Vollard se spesiale
talent het daarin gelê om die waarde van die nuwe groep kunstenaars raak
Jeanetta Blignaut FOTO: Adam Letch

te sien en die wonder van hul talent aan die koperspubliek bekend te stel. Dit
was sy kuns; een wat hy uiters suksesvol beoefen het.
Die filosoof Theodor Adorno het in die laat 1960’s gesê dat dit “nou as
vanselfsprekend aanvaar word dat niks in kuns meer vanselfsprekend is nie.”
lemand anders sou dit met reg in 1894, die jaar wat Vollard sy eerste galery
in die Rue Laffitte geopen het, kon kwytraak. En dit is vandag steeds waar.
Die taak van die hedendaagse kunshandelaar is, ten spyte van kunskursusse
en kunsteorie, en die taalspel waarmee kuns-akademici hulself uitdruk, niks
makliker nie. Dit verg steeds ‘n spesiale talent om die spesiale kuns raak te
sien en dit op so ‘n manier aan mense oor te dra dat hulle dit wil koop.
Plaaslike talent in vandag se oorversadigde verbruikersmilieu moet die
voornemende kunshandelaar nie net met die talente van ‘n Vollard geseën
wees nie, hy of sy moet ook weet hoe om iets te bied wat niemand anders
bied nie, of “‘n konsep” hê. Weer makliker gesê as gedaan.
Jeanetta Blignaut is so iemand. Hierdie talentvolle vrou het nie net ‘n
meestersgraad in die Skone Kunste van die Universiteit Stellenbosch nie, sy
is ook die medestigter en uitvoerende hoof van die Spier-kunsakademie en
gebruik die posisie om haar passie, samewerking in die kunste, onder die
vaandel van Jeanetta Bilgnaut Art Consultancy (www.jeanettablignaut.com)
uit te leef.
Haar eerste projek was die kunstenaarsboek Fooding About with Topsi. Hierin
het sy die beleweniswereld van koskunstenaar Topsi Venter met 26 beeldende
kunstenaars verenig om iets te skep wat op sigself ‘n kunsvorm is. Met haar
suksesvolle kuns-konsep The Creative Block slaag sy daarin om haar passie
vir kuns-samewerking daagliks deel van haar lewe te maak.
“Die motivering agter die konsep is tweeledig,” verduidelik Jeanetta. Aan die
eenkant gee dit kunstenaars ‘n raamwerk en afsetgebied vir hul kuns, en aan
die ander kant gee dit versamelaars (jonk en oud, voornemend en gevestig)
die geleentheid om kuns te bekom wat goed en bekostigbaar is.
Jeanetta verskaf aan voornemende deelnemers ‘n houtblok van 18 cmx 18
cm. Hierop kan kunstenaars dan na hartelus skep. Olie, akriel, krale, mosaïek
of lap: letterlik enige medium word gebruik om die blokke in kuns te omskep.
“Ek is ongelooflik uitsoekerig.
Ek moet wees, want ek wil
altyd met groot eerlikheid
aan my versamelaars die
versekering gee dat elke blok
‘n wonderlike kunswerk is.”
Creative Blocks

Een maal per maand het sy dan ‘n inneem-dag. Kunstenaars bring hul blokke
terug vir beoordeling. “Ek is ongelooflik uitsoekerig,” se sy. “Ek moet wees,
want ek wil altyd met groot eerlikheid aan my versamelaars die versekering
gee dat elke blok ‘n wonderlike kunswerk is.” Meer as 130 kunstenaars het
tot dusver aan die projek deelgeneem.
Van die name op haar webwerf, www.creativeblock.co.za, is gevestigde en hoogs
gerespekteerde kunstenaars soos Henk Serfontein, maar ‘n belangrike deel van
haar projek is ook gemeenskapsgeoriënteerd. En net agter die ry kunstenaars
staan die ry versamelaars. Vir Jeanetta is die skep van ‘n gesofistikeerde
koperspubliek ‘n geweldig belangrike komponent van haar bedryf.
“Kunstenaars kan net aanhou skep as mense hul kuns koop.” Bekende individue,
instansies en organisasies koop gereeld van die klein kunsjuweeltjies.
Om te verseker die mark bly groei, is dit vir haar belangrik om jong kopers
aan die Creative Block-konsep bekend te stel, en hulle te laat voel hulle kan
ook kuns bekostig. Daarom hou sy die pryse ongelooflik redelik. Nie net is die
blokke ‘n standaardgrootte nie, die pryse bly dieselfde - altyd onder R1 000. En
dit vir kunswerke waarvan die standaard so hoog is dat dit die ingangsportale
van organisasies soos die Hollard-versekeringsmaatskappy se hoofkantoor in
Johannesburg versier.
Jo-Marie Rabe
Die Burger, 12 Aug 2009
Phumza Dyalivane
Zemba Luzamba
Ruth Cousins

Jeanetta and Artists
Front: Tamsin Relly
Front: Norman O’Flynn
Ernst Fulani
Christopher Slack
Buying a Block
An Exhibition of
Creative Blocks
Thomas Somdaka
Creative Blocks
Creative Blocks
IMAGE
APPENDIX
Click on images for high resolution download
Creative Block
Curating Day
Henk Serfontein
Liza Grobler
An Exhibition of
Creative Blocks

For more information contact Jeanetta Blignaut at
T +27 21 461 2679
M +27 72 245 7616
E info@creativeblock.co.za
A 3rd Floor, Union House, 25 Commercial Street, Cape Town
www.creativeblock.co.za
CONTACT