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Rina Stutzer

Updated: Apr 10, 2019

Artist 106

Rina Stutzer Dislodge

Rina Stutzer, born in 1976, is a Pretoria visual Artist from South Africa.

Stutzer works in variety of mediums which investigate and question ideas of permanence within the comprehensive theme of the ‘nomadic’ within a South African context.

She creates both sculptural works and paintings exploring the theme of ‘the nomadic’ in a South African context. In addition to the movement of people, Stutzer is interested in liminality and shifting identities.

Reflecting this in her practice, Stutzer’s recent work has explored painting with acid as an ever-changing image on copper plate and on paper

Her artworks currently explore the ‘ever-changing image’ through painting, sculpture and installation mediums.

Her work is difficult to sum up because it is in a constant process of becoming, the pieces evolving out of each other, often guided by intuitive impulses rather than some clean-cut philosophy or aesthetic.

She explores a metaphor between crows and their relationship to the human, and an interest in exploring manifestations of and possibilities for ‘the nomadic’.

Stutzer is interested in how they display characteristics that overlap with the human.

They are known for their cunning, their capacity to ‘lie’ or ‘mislead’.

This metaphor for the human and the place of the human in the world – especially in the context of South Africa reflects a boundary between animal/human, and desire/disgust.

Here the crow also stands for the artist herself: both operate outside of society, both are subversive, they are tricksters playing around with the possibilities of reality.

Stutzer is interested in decay as a mode of renewal or regeneration. In several of these works she is painting with acid on a copper plate. She uses Abject in her work process. Physically destroying parts of her work.

Stutzer likes making works that are not fixed, that are perishable – works whose identity is themselves ambiguous (as with the crow) and transitory, provisional (as with the nomad).

All that we know of the world is that we are passing through it. We are alive here, now.

This idea of decay in work and the fragility in experience can be explored through abjection. It fades the line between what we expect and reject.


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