Nolan Oswald Dennis’ works Aporia (2016) are monoliths of light wrapped in grey utility blankets. The work is inspired by the interim state experienced during cycles of political contestation. Dennis points to the example of Chumani Maxwele’s fecal protest of the Cecil Rhodes statue in Cape Town, which lead to its removal by the University. “The statue was first wrapped in plastic and then boxed in plywood while the university attempted to respond to the decolonial demand of the students,” states Dennis. “This moment of half-removal, or attempting to conceal the issue, creates a suspension in the political process, an attempt to both remove and not remove the offending object.”
In much the same way these works attempt to both share and conceal the light which is their operative function by covering them with utility blankets - a material associated with the protection and mobility of human bodies as well as objects. Aporia are monoliths with an irresolvable double agenda in that they are both physically imposing and functionally meek. This sculptural cycle is reaching toward a (South) African non-object, a language for postponement and deferral.”
Nolan Oswald Dennis’ works Aporia (2016) are monoliths of light wrapped in grey utility blankets. The work is inspired by the interim state experienced during cycles of political contestation. Dennis points to the example of Chumani Maxwele’s fecal protest of the Cecil Rhodes statue in Cape Town, which lead to its removal by the University. “The statue was first wrapped in plastic and then boxed in plywood while the university attempted to respond to the decolonial demand of the students,” states Dennis. “This moment of half-removal, or attempting to conceal the issue, creates a suspension in the political process, an attempt to both remove and not remove the offending object.”
In much the same way these works attempt to both share and conceal the light which is their operative function by covering them with utility blankets - a material associated with the protection and mobility of human bodies as well as objects. Aporia are monoliths with an irresolvable double agenda in that they are both physically imposing and functionally meek. This sculptural cycle is reaching toward a (South) African non-object, a language for postponement and deferral.”