'Rain, spit, snow', 2018, acrylic polymer, jesmonite, marble dust, pigments, steel
Ceel Mogami de Haas
Born Selebi Phikwe (BW), 1982
The hand records thoughts on paper or screen, but it is through the mouth that language is shaped. It is where the tongue carves sounds and guides them out past the lips. At the same time, the mouth is the start of our digestive system, where food first comes to us; it is also where we physically interact with lovers. The mouth may thus be understood as our physical opening to the external world, a gate that lets in people, thoughts, and ideas. But its function and potential are manifold, the perspectives always incomplete. Such ideas of unlimited meanings shape the work of Ceel Mogami de Haas. The form is always indefinite in intention – it can only be approached, and never completely understood. That is why Ceel speculates about potentials, and why he generates conversations between fictional characters, whose voices are derived from cinema and literature, as they discuss their existential feelings and relationships. Previously they were different sorts of pens that dealt with each other literarily. Now they are werewolves who tell each other about their cultural histories and complex anxieties of difference, their altering perceptions and metaphorical implications throughout the ages. The visual references Ceel makes solidify on the surface two-dimensionally: fragments of words, images and cave paintings converge in his collages – and together form new speculative narratives. All in an endless dialogue.