Cropped illustration by Roberto.
Graflit: Urban Interiors participating artist, Roberto, completed a BA in Information Design at the University of Pretoria in 2008 and later an MPhil in Visual Arts (Illustration) at Stellenbosch University in 2012. He quickly became involved with the CCIBA as an assistant project coordinator while completing his postgraduate studies, participating as an artist in various projects and publications. Roberto currently works as a published cartoonist and comic book artist for various organisations and publications, a number of which have included weekly political cartoons for GroundUp, monthly comic strips for LGBTI newspaper The Pink Tongue and corporate comics for digital media. His digital colouring portfolio includes both comics by various illustrators and editorial cartoons by master cartoonist Zapiro, his colouring work having appeared in The Sunday Times and on the covers of The Times and The Mail & Guardian. He recently coedited the inaugural graphic literature/comic book anthology, Graflit: Graveyard Literature in Black & White, with cartooning stalwart and academic, Andy Mason, and won the Africa e Mediterraneo award for ‘Best Unpublished Comic Strip by an African Artist 2009-2010′ for his comic book, Hello Neighbour.
Illustration by Roberto.
Roberto discussed his Graflit: Urban Interiors proposal to the CCIBA:
Latin poet Ovid tells the tale of Pygmalion, a well-respected and immensely talented sculptor, disillusioned by the infidelities of women, who fashioned the beautiful Galatea out of ivory in mythology's most revered example of Trompe l'oeil. Pleased so much with the sculpture he was, she would accompany him to bed, her stonewashed glare staring lovingly though somewhat blankly into her creator's eyes.
For my Graflit proposal I would like to tell a contemporary version of Galatea's story, the living breathing artwork. The mythological construct of Galatea constitutes a strong reference to the notion of the artist as architect, a God-like figure and creator of the universe. A breath-like expansion and contraction of creativity where the work allows for both a patriarchal proof of genius and - more importantly - for the appropriation of new meaning, desperately seeking independence from its creator. Relegated to her role as silent witness, Galatea has for me come to embody the striking sculptures of strong female figures planted throughout the Cape Town central business district - including those found in churches, as well as those relegated to roundabouts on Adderley Street. I would like to tell my own version of the cenotaph sculpture on Adderley Street..."