Igshaan Adams. Desire Lines
Igshaan Adams’s slim exhibition catalogue, with its orange softcover and minimalist orange thread stitching, is a breath of fresh air amidst the proliferation of hefty art books. The extremely soft cover made from binding material and the thin paper create an impression of fragility. This reflects the fine textiles and large-scale installations that the South African artist produces using found materials – from old linoleum flooring and carpets to cables, plastic cords and other waste. The often colourful patterns that emerge tell densely woven tales of local cultures, societal structures and political conflicts, with the primary focus on Cape Town. The complex content of the oeuvre means that the catalogue consists principally of a dozen texts. They are presented in a three-column layout into which images of the works and views of the exhibition in different sizes and formats are inserted as if at random – generally overlaid with text. A 40-page photo-essay on thicker paper is bound into the middle of the book, documenting Adams’s approach to his work via sources of waste, collections of materials and drafts. Laying everything out openly brings the reader closer to the artistic process – almost as if they could select and compile their own found objects.
