A timely exploration of the allusive, sculptural fiber work of an important contemporary South African artist

The book presents an early career survey of the work of Cape Town–based artist Igshaan Adams (b. 1982), showcasing his multimedia practice since 2009. In addition to exploring recurring motifs in his work—Arabic calligraphy, the rose, the (self-)portrait, Sufi symbols, and pathways literal and metaphorical—the publication highlights some of Adams's material concerns, including his sculptural applications of weaving, his embrace of recycled materials related to black South African domesticity and interiority, and his use of the gallery wall and floor in installations. Hendrik Folkerts surveys the artist's recent work, addressing its engagement with presence, absence, and the trace.. Adams himself offers a visual essay enabling readers to see details they would be imperceptible in a gallery setting. In shorter essays and poetic texts, the other authors focus on the South African historical and political context, specific artworks, and particular creative strategies, materialities, and narratives.

对一位南非知名当代艺术家的隐晦的、雕塑性编织作品的及时探索

本书介绍了开普敦艺术家伊格尚·亚当斯（Igshaan Adams，生于1982年）的早期职业生涯调查，展示了他自2009年以来的多媒体实践。除了探索他作品中反复出现的主题——阿拉伯书法、玫瑰、（自我）肖像、苏非派的象征以及字面和隐喻的路径——本书还强调了亚当斯对材料的关注，包括对编织的雕塑应用，采纳与南非黑人家庭生活和内部空间相关的回收材料，以及在装置中对画廊墙壁和地板的使用。亨德里克·福尔克茨（Hendrik Folkerts）调查了艺术家最近的作品，探讨了其对存在、缺席和痕迹的参与。亚当斯本人提供了一篇视觉文章，让读者能够看到在画廊环境中无法察觉的细节。在较短的文章和诗歌文本中，其他作者专注于南非的历史和政治背景，具体的艺术作品，以及特定的创作策略、材料和叙述。