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Indepth Arts News:

"To My Beloved: Francine Scialom Greenblatt"
2003-10-13 until 2003-11-01
Association for Visual Arts
Cape Town, , ZA South Africa

The Association For Visual Arts in partnership with Hollard, 35 Church Street, Cape Town, is hosting a solo exhibition by FRANCINE SCIALOM GREENBLATT, her first in South Africa in three years. SCIALOM GREENBLATT was born in Cairo in 1951. She graduated with a BA Fine Art and later with an M Fine Art from the Michaelis School of Fine Art, University of Cape Town. The title of her Master’s dissertation was "Open Diary: Biography/Autobiography as Historical Context". In 1973 she joined the Graphic Workshop and lectured at the Cape Town Art Centre. Over the years she continued to lecture on contemporary painting and taught art privately, from her studio. During the 1980s she played an active role in the SAAA, Western Cape (now AVA) where she served on the committee as chairperson and on its selection panel. She lives and works in Cape Town.

Since 1973 SCIALOM GREENBLATT has participated extensively in a variety of group exhibitions throughout South Africa and abroad, including several showings at the Basle Art Fair in Switzerland; the Musee des Jacobins in Toulouse and the Musee du Luxembourg in Paris; Bloxham Gallery in London; and on shows at the Everard Read Gallery, Lesart International, the Natalie Knight Gallery and the Standard Bank Gallery, all in Johannesburg; the NSA in Durban; the Klein Karoo National Arts Festival in Oudtshoorn; "Telkom and the Internet" in Johannesburg, Port Elizabeth, Durban and Cape Town; and at Stellenbosch University Museum, the South African National Gallery (SANG), the Pretoria Art Museum, the Natale Labia Museum and the Castle of Good Hope, as well as at a host of other galleries locally, and in Luxembourg, Dijon and Italy. She has held more than fourteen solo exhibitions, including several in Paris (at Galerie Georges Fall and at Galerie Lavignes-Bastille) and one in New York at the Gabrielle Bryers Gallery in Soho. She held her last solo show at AVA in September 2000.

SCIALOM GREENBLATT was the first artist invited to be "artist in residence" at SANG. She was also commissioned to produce a public installation in the form of a fifty metre long mural frieze for the restaurant court of the refurbished Cavendish Square Shopping Centre in Claremont, as well as stage panels for John Ford’s Jacobean play "Tis Pity She’s A Whore", directed by the late Mavis Taylor at the Nico Malan Theatre (now Artscape). She is well-known for her single and family portraits, a large body of which (fifty-four) hangs in the foyer of the Victoria Junction Hotel in Green Point.

Publications in which she is represented include various personal catalogues from her French exhibitions and from the Basle Art Fair, a book on her work, entitled "Francine Scialom Greenblatt ‘La Peinture au feminin, l’union du physique et du mental’ " by renowned French art critic, Pierre Restany; "150 South African Paintings – Past and Present" by Lucy Alexander and Evelyn Cohen; Cimaise Journal; Kanal Magazine; Cimal; Opies Magazine; Pariscope; "Le visage dans l’art contemporain" catalogue for Musees des Jacobins et du Luxembourg in France; "Il Sud Del Mondo – L’Altra Arte Contemporanea" published in Milan, as well as in many local publications, such as House and Leisure, Cosmopolitan, Fair Lady, Leadership Magazine; the Flying Springbok; Lifestyles Magazine both local and international, and a calendar publication by Hirt and Carter, amongst others.

Her work is represented in most major public and corporate art collections in this country, i.a. those of SANG, SASOL, Wooltru, Telkom SA, the Protea Hotel Group, Associated Magazines, Old Mutual Properties, the Ingenuity Group, SA Fine Worsteds, Louisenhof Wine Estate, SA Brandy Foundation and Fabiani, in addition to countless private collections throughout the world and in South Africa.

SCIALOM GREENBLATT’S current exhibition comprises large paintings on canvas, portraits and small works on paper created over a two year period. Consistent with her approach, she continues to explore the effect of stylistic shifts in mediating meaning in painting. "How can familiar iconographic clichés, such as the female figure or a rose, be reinvested with sufficient meaning to hold our oversaturated, mediatised attention?" This is a question the author raises again and again. The viewer is reminded that by entering the artist’s private universe, we become voyeurs into another’s reality or imagination.

Francine Scialom Greenblatt

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