I understand
arrow drop search cross
Igshaan Adams, Jaime-Lee, Dustin, 2023, Cotton twine, polypropylene and nylon rope, mohair wool, plastic, glass and semi precious stone beads, silver-linked chain and tiger tail wire. 198 x 290 cm. Courtesy of the artist. Photo: Mario Todeschini
What's on >

Igshaan Adams

22 June - 3 November 2024

Exhibition entry is £13 / £11 / FREE for Members, Wakefield District residents and under 18s. Ticket includes entry to all our gallery spaces on the day of visit.

Tickets available soon

Igshaan Adams is a South African artist who works across weaving, sculpture, and installation. For the artist’s solo exhibition at The Hepworth Wakefield, he will present a new body of work consisting of large-scale tapestries accompanied by his ‘cloud installations’ — sculptures made from wire and beads that resemble erupting dust clouds.

Central to Adams’ practice is a keen interest in how human exchanges have the potential to transform domestic spaces, landscapes, and the communities they encompass. His latest series of artworks for the Hepworth Wakefield builds upon his ongoing exploration of the movement and dance traditions of Namaqualand, situated along the coast from Cape Town to the Namibian border. For this new group of works,  Adams collaborates closely with the Garage Dance Ensemble, a dance group based in O’okiep within South Africa’s Northern Cape Province. Established by Adams’ relatives, John Linden and Alfred Hinkel, this dance troupe engages with young people through choreography, social justice initiatives, education, and creative innovation.

As part of a series of workshops, the dancers are encouraged to intuitively interact with a large canvas covered in wet paint, leaving behind traces, and creating abstract paint marks with their bodies. The resulting ‘paintings’ serve as inspiration for the tapestries Adams creates in his Cape Town studio. With this body of work, Adams is interested in recording a trace of the dancers’ psyche, and their body and movements as repositories of memories and trauma. Adams sees each of the resulting tapestries as deeply personal to each dancer. Adorned with beads, chains, ribbons, and rope, these tapestries are sometimes named after some of the performers. Adams’s works incorporate locally sourced materials like stones, shells, pearls, and beads, evoking the visual rhythm of dance and the narrative of body movements.

Related