Century City Arts Foundation unveiled the artwork of South African artist, Anton Smit at what they call The Subway, situated at the main arterial near Century Boulevard on Tuesday, September 19.
The event was attended by nearly 100 attendees and sponsors for the unveiling of the Landscape of the Soul, artwork that was displayed on the walls at The Subway, which connects from the old Century City to the new; and ends at the edge of Ratanga Park.
John Chapman, chairman of the Century City Arts Foundation (CCAF), welcomed guests and thanked all for supporting the goal to beautify Century City.
He said the idea was to showcase original local art, and said he was pleased that Mr Smit was part of the goal and initiative.
“Since the inception of the Century City Arts Trail in 2014, we have commissioned original art across the precinct in unusual places, and The Subway is an area with great potential and our vision was to turn this cold concrete space into an art attraction and a place for people to pause and linger, rather than speed through.”
Mr Chapman said that there was a “request for proposal”, to all artists who previously had their work showcased at Century City, however, Mr Smit had a different vision altogether, which CCAF could not afford.
But with the help of various sponsors from businesses and a crowdfunding campaign that the foundation started, they were able to “see their vision come to life”.
“We are beyond grateful to each sponsor who realised the potential of this visionary and legacy-making installation by Anton. The effort by Anton and his team is mind-blowing. From making almost 500 masks, to planning and plotting it in his studio in Somerset West and installing it painstakingly in the cold and wind during July, is an exemplary accomplishment and a fantastic achievement. We are forever humbled that Anton chose Century City for one of his greatest art installations to date.”
According to Mr Smit, Landscape of the Soul is largest single composite artwork that he has created to date, which incorporates various sizes of fragmented masks, each of which are securely mounted on the wall in a staggered series of faces forming a lyrical wave of identity.
He said the work is a “juxtaposition of 500 masks”, and his “love for people”, has inspired his work, thus far.
The masks are up to three meters tall, spanning the 33-metre wall, he said.
“For this expansive installation I wanted to illustrate that even though we are all faces in the crowd, we do form a unity through love that binds us. We realise that the only way we can know ourselves is through others. Our reflections crave companionship, recognition and mostly love,” he said.