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In Spectacles, the artist brings together a new body of work that extends his thinking across cut-outs, drawings, sculptures and videos.
The exhibition title holds a double meaning. On the one hand, the word refers to the charged appearance of something extraordinary like a staged event or an image that seizes the gaze. But on the other hand, spectacles frame, distort, and direct vision, functioning as optical tools.
What we see in the exhibition is deliberately restrained: white walls and sparse marks form a choreography of interruptions. In this environment, Motsi’s works operate as gestures and fragments that point towards moments where perception is partial, embodied and often structured by an external force. Installed in the interior space are five white masks, set flush into the wall’s surface. In certain cases, the eyes (or pupils) are removed entirely. By arranging the scene and casting the publ…
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Press Release
In Spectacles, the artist brings together a new body of work that extends his thinking across cut-outs, drawings, sculptures and videos.
The exhibition title holds a double meaning. On the one hand, the word refers to the charged appearance of something extraordinary like a staged event or an image that seizes the gaze. But on the other hand, spectacles frame, distort, and direct vision, functioning as optical tools.
What we see in the exhibition is deliberately restrained: white walls and sparse marks form a choreography of interruptions. In this environment, Motsi’s works operate as gestures and fragments that point towards moments where perception is partial, embodied and often structured by an external force. Installed in the interior space are five white masks, set flush into the wall’s surface. In certain cases, the eyes (or pupils) are removed entirely. By arranging the scene and casting the publ…
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