Date:12 January, 2022
Eksteen (also known as XTN) was born at Zastron, South Africa on October 6, 1973. He studied towards a BA in Fine Art at the University of Pretoria and UNISA. He spent several years working in related fields from Menswear Designer to various positions in the Interior Decorating and Digital Design Industries. As a Visual Artist Eksteen has been actively working and exhibiting since 1996. He has taken part in numerous group and two person exhibitions on an international level and reached the finals of prestigious art competitions such as the ABSA Atelier Competition, The Rupert Art Foundation & Rust-en-Vrede Portrait Award and the Thami Mnyele Fine Art Award. His work is currently included in numerous private collections across the world as far afield as Germany, Sweden, Australia and the USA. Eksteen’s work can best be described as the study of relationships. This theme often explored by means of opposing energies or deconstructed elements in his images has been the fundamental conceptual building blocks for most of his work since the mid 1990’s. Works focus on specific aspects of identity and how juxtaposed philosophies or imagery, can illuminate our understanding of self and how we relate to others and the world.
His work is visually confrontational, but most often serves as a simple question posed to the viewer. He has presented images of castrated men (La Mort, 1998), confronting notions about gender by beckoning the viewer to confess “who and what they are without their genitals” He has combined the faces of male and female sitters into a single androgynous portraits (xx=xy, 2015) asking the viewer to identify the gender of the sitter and in so doing to expose their own gender bias understanding of the world. In his latest body of work, he questions the viewer’s understanding of the physical world by presenting a version of reality that confronts the viewer with images drenched in the scientific and technological ideologies of the early 21st century. Eksteen, is currently living and working in Hillcrest, Kwazulu-Natal, South Africa.
“Energy is neither created nor destroyed only transformed.” – Law of Conservation of Energy.
“Energy” has become one of the most important issues steering the cultural and economic discourse of the early 21st century. Every aspect of our lives is influenced by our energy consumption, how that energy is sourced, its environmental impact and its sustainability. The preoccupation with our energy dilemma along with the laws of physics that govern energy, its transformation and behavior and by extension all matter, constitute the conceptual foundation of this body of work.
In 1924 French physicist Louis de Broglie proposed the theory of wave-particle duality. Wave-particle duality holds that light and matter exhibit properties of both particle and wave such as wavelength and frequency, thus concluding that all physical matter vibrates at its own innate frequency and wavelength. Mathematical representations of these vibrations, much like sound and light are sinusoidal waveforms. Waveforms are used as the primary visual motif and structural element in these works to aid in meaningfully describing concepts such as existence, being, becoming, and reality. The subject matter is celebrated for both its physical form and its hidden or invisible nature.
waveWORKS is a re-assessment of traditional visual representations of the physical world, utilizing several artistic traditions such as portraiture and still life to express a new consciousness and awareness of the fundamental nature of all matter: energy.