Surface Tension at The Blue House: A journey through sustainability and art
Art lovers are invited to explore the new Surface Tension exhibition, now open to the public at The Blue House.
The David Krut Projects has unveiled Surface Tension, an evocative new exhibition by local artist Bevan de Wet.
The showcase, which opened on February 1 at The Blue House in Parkwood, invites viewers into a tactile world where materiality and ecological consciousness converge.
De Wet, renowned for his work in printmaking and papermaking, explores organic processes in his new series of paper pulp paintings and monotypes, focusing on sustainability and the balance between natural and structured forms.
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The art of tension
In an interview, De Wet reflected on his creative process:
“Working with paper fibres is about finding sustainable materials, using recycled substances, and invasive plants, and transforming them into something durable. But it’s also about the journey of discovery, of constantly pushing the boundaries of artistic expression.”
Surface Tension reflects the physical properties of the works and the conflict between nature and human influence. De Wet’s fascination with materials goes beyond aesthetics; it addresses the growing alienation between humans and the natural world, intensified by reliance on digital interfaces.
“I wanted to work with something very tactile. The pulp interacts with colour unpredictably as it dries, shrinking and contracting within the moulds. The tensions, between control and chaos, the organic and the structured, emerge naturally in the process.”
From invasive to innovative
One of the defining elements of De Wet’s work is his use of sisal fibre, an invasive plant species in South Africa that is often regarded as a nuisance. However, as De Wet points out, sisal has remarkable properties:
“While it’s seen as invasive, it has many uses – rope-making, mats, textiles. There’s an irony in something unwanted holding so much value. I’m interested in using sustainable materials in art, especially in a world obsessed with single-use plastics.”
This approach aligns with De Wet’s broader interest in reimagining how materials can be repurposed, reflecting on consumption, waste, and the possibilities of transformation.
Layers, perforations, and abstract topographies
De Wet’s process is complex, involving the layering and perforating of paper pulp to create a rich visual language of textures. He views this layering as a metaphor for the interaction between nature and human-made structures, noting, “The moulds I use have structured, almost digital patterns, but the natural fibres behave unpredictably. That’s where the magic happens, where structure meets organic fluidity.”
De Wet refers to the results as abstract topographies, landscapes that blend figurative and conceptual elements. They can evoke microscopic details, geological formations, or aerial views, allowing for multiple interpretations. “These pieces resist a fixed reading, encouraging close examination and demanding a physical presence.”
A call to engage
Beyond their visual allure, De Wet’s works prompt viewers to reflect on human impact and nature’s resilience. He hopes the exhibition will inspire a reconsideration of materials and sustainability:
“I want people to consider our engagement with the world, how we use and discard materials, and how we can reimagine their value. This playful, experimental exhibition is fundamentally about transformation.”
A celebration of material and meaning
Surface Tension is a powerful blend of artistic experimentation and environmental awareness. The evolving textures and organic formations remind us that nature is constantly adapting and enduring amid human interference. De Wet’s work transcends traditional art, reflecting on resilience, renewal, and the balance between human impact and nature.
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